Podcast appearances and mentions of juliet capulet

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Send us a textWelcome back. But first, If you're joining us now for the first time, here is what you must know.Verona is split by a feud between two houses: Montague and Capulet. Romeo Montague meets Juliet Capulet at a feast, and they fall in love with reckless sincerity. They marry in secret—hoping, perhaps, that love might stitch together what hatred tore.However the city runs on pride and sudden violence. A street fight ends in death. Romeo kills Tybalt and is banished. Juliet faces a forced marriage. A message fails to arrive. The tragedy does what tragedy does.Today, we step away from the crowd and speak to one young man at the center.Romeo.GeorgeRomeo, you are often described as impulsive. Romantic. Dramatic.Let me ask a sharper question:When people call you “rash,” what do they fail to see?ROMEO:They fail to see… I was trying to be good.Not perfect. Not wise. But good.Support the showThank you for experiencing Celebrate Creativity.

Send us a textJULIET (calm, surprising firmness):They call me a child because I am young.But children don't usually bury their own futures with their own hands.George (gentle):Then let us speak plainly, Juliet.Not as an emblem. Not as a tragic ornament.But as a mind at work inside a storm.GeorgeIf you're joining us now: Verona is split by a feud between Montagues and Capulets. At a Capulet feast, Romeo Montague meets Juliet Capulet. They fall in love at speed, marry in secret, and try to build a private world inside a public war.Then a street conflict erupts: Mercutio falls, Romeo kills Tybalt, and Romeo is banished. Juliet's parents arrange a marriage to Paris. A desperate plan depends on a message. The message fails. Tragedy follows.Tonight, we speak with Juliet—often treated as “the girl on the balcony,” when in truth she is one of the sharpest minds in the play.First it might be useful to ask the question - Who is Juliet?”GeorgeBefore we begin, a brief character file—because Juliet is often misread.Juliet Capulet is:young, yes, but not simpledevoted, but not passiveromantic, yet fiercely practical when forcedtrained by obedience, until obedience becomes impossibleHer superpower is not beauty. It's clarity under pressure.All right. Juliet—let's begin where the world begins to lean on you.Support the showThank you for experiencing Celebrate Creativity.

The Matric is one of the most important exams in a South African student's life. It is a standardised test that is the final step before completing high school. Students who complete the exam are awarded the National Senior Certificate. On average, over 800,000 students sit for these exams annually. The matric exams will begin on October 21 and conclude on November 28. They are spread across six weeks, allowing ample time for preparation and revision before them so, we asked the kids of Joburg if they know who Romeo & Juliet See omnystudio.com/listener for privacy information.

It's a story of love at first sight and sacrifice. Romeo and Juliet, the famous characters from Shakespeare's work, have been elevated as the epitome of Love with a capital L. But amidst family conflicts, spilled blood, and death as the only way out... When you dig a little deeper, can we truly speak of love at first sight? Is the love story of the two teenagers really a model today ? Love at first sight, really ? In Verona, in the 14th century, it's the end of summer, and young Romeo Montague is melancholic. To counter this gloomy mood, his friends take him to one of the most anticipated parties of the moment. Inside the villa, the three teenagers joke around and enjoy the festivities. The entire Veronese high society is gathered in the hall adorned with rich tapestries, golden candelabras, and thick carpets. After a while, Romeo turns his head towards the garden and locks eyes with a young girl whose innocence overwhelms him. This beautiful stranger has a name: Juliet Capulet. A Bababam Originals podcast. Translation of the French script of Lucie Kervern. Voices : Debra Reynolds, James Brack Directed by Célia Brondeau. Production : Bababam Learn more about your ad choices. Visit megaphone.fm/adchoices

It was beyond time to revisit this film that was part of my formative years. We first covered this film early in the podcast days and during the pandemic. There wasn't a clear format back then so any opportunity I have to talk about how much this film means to me is warranted. On this episode we use our regular format with reviews and me and Jai get a new look through Jules' eyes who was seeing it for the first time. We get into the chokehold Leo had on us in the 90s, the INCREDIBLE casting and acting, and more of the fashion we crave. Off-topic rants: the Twilight comparison and formative films --- Get BONUS episodes on 90s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! GIVE US A 5 STAR RATING & SUBSCRIBE!Hosts: Lauren @lauren_melanie & Jai @jai_stylefactory   & Jules @imdenmate Music by Den-Mate @imdenmateFollow Fashion Grunge Podcast Substack The Lo Down: a Fashion Grunge blog/newsletterInstagram @fashiongrungepodTwitter @fgrungepodLetterboxd Fashion Grunge PodcastTikTok @fashiongrungepod 

'A thirteen-year-old girl is at a party. A boy, slightly older, sees her. Juliet. This book is about that girl.' A cultural, historical and literary exploration of the birth, death and legacy of the ultimate romantic heroine—Shakespeare's Juliet Capulet. Juliet Capulet is the heartbeat of the world's most famous love story. She is an enduring romantic icon. And she is a captivating, brilliant, passionate teenage girl who is read and interpreted afresh by each new generation. Searching for Juliet takes us from the Renaissance origin stories behind William Shakespeare's child bride to the boy actor who inspired her creation onstage. From enslaved people in the Caribbean to Italian fascists in Verona, and real-life lovers in Afghanistan. From the Victorian stage to 1960s cinema, Baz Luhrmann and beyond. Sophie Duncan draws on rich cultural and historical sources and new research to explore the legacy and reach of Romeo and Juliet far beyond the literary sphere. With warmth, wit and insight, she shows us why Juliet is for now, for ever, for everyone.

A story about two warring families, two star-crossed lovers, some graphic violence, and a whole lot of boobs.Listen in as me and new guest and veteran podcaster, Julian, put in our nose piercings and prince alberts for this raucous and vulgar rendition of the Bard's most recognized work.Directed by Lloyd Kaufman (The Toxic Avenger, Sgt. Kabukiman N.Y.P.D.) and co-written by Kaufman and James Gunn (Guardians of the Galaxy, The Suicide Squad), the San Francisco Examiner said of the film that "amid the severed fingers, gouged eyes and lethal vibrators, one finds moments of genuine wit," while the AV Club said "its chief demographic [is] maladjusted 12-year-old boys." Rude. I may be maladjusted, but I am not 12-years-old.It tells the story of Romeo and Juliet, but Troma style. What's that? You didn't have to read it in high school? Oh... you didn't have to read it in home school. Gotcha. Okay, here it goes. Tromeo Que loves Juliet Capulet. Ques and Capulet hate each other more than the Hatfields and McCoys, thus one can see the problem. Throw in nightmares of a demon penis, some decapitations, and a crossbow that blows shit up and you have one helluva movie.The film is currently available on Peacock, Plex, Pluto TV, Tubi, Prime Video, and Blu-ray & DVD

Since we started this little podcast, we have been spending quite a substantial amount of time telling you the stories that made our remarkable homeland what it is. We firmly believe that the best way to know the heart and soul of a place is through the stories, real or imagined, that its people tell each other. There are some stories, though, that are so powerful that they become firmly embedded into the psyche of an entire planet. The sad tale of the star-crossed lovers from Verona is definitely one of them. Since when it became a global hit, the story told by the immense William Shakespeare has attracted a lot of attention. There are a few scholars that say that the Bard actually "borrowed" it from similar stories that had been circulating for a long time way south, in that odd peninsula in the middle of the Mediterranean. We had a look around and found two different stories coming from Florence and Siena that look A LOT like the tale told so beautifully by the English master. That's why this week What's Up Tuscany will tell you how Ginevra and Giannozza might have been the real inspiration behind the character of Juliet Capulet. Were these young ladies real? While the Juliet from Siena comes from a book published a century before Shakespeare, the Florentine tale could be one of the most successful gossip stories of all times, powerful enough to transcend hearsay and enter the Pantheon of Tuscan legends. Do you like this kind of episodes, more focused on the stories themselves than on the way they impacted Tuscany? Let us know by dropping us a note on social media or an email. All feedback is greatly appreciated! Remember, we have no other way of growing.Email: podcast@larno.itFacebook: https://www.facebook.com/larno.itTwitter: @arno_it / @WhatsupTuscanyLINKS TO SOURCES (ITALIAN ONLY)https://www.firenzetoday.it/social/halloween-firenze-storia-ginevra-amieri.htmlhttps://www.conoscifirenze.it/personaggi-fiorentini/585-Ginevra-degli-Amieri.htmlhttps://www.florencecity.it/lamore-vince-sempre-ginevra-degli-almieri/http://lafirenzedefiorentini.blogspot.com/2015/12/ginevra-la-sposa-fantasma.htmlhttps://francescarachelvalle.com/2015/09/02/ginevra-degli-almieri-la-sposa-che-visse-due-volte/http://insolitaitalia.databenc.it/storia/mariotto-e-ganozza-romeo-e-giulietta/https://it.wikisource.org/wiki/Il_Novellino/Parte_quarta/Novella_XXXIIIhttps://arzyncampo.altervista.org/257963465-2/BACKGROUND MUSICPipe Choir - Bom Bom Breakthrough (Instrumental)Pipe Choir - Almost Time (Instrumental)Pipe Choir - A Dark Blue Arc (Instrumental)Pipe Choir - Followers (Instrumental)Pipe Choir - The Opening ClosingIncompetech - Leopard Print ElevatorWayne John Bradley - Blues Rock Original InstrumentalAll released under Creative Commons Attribution 4.0 International Licensehttps://soundcloud.com/pipe-choir-2/pipe-choir-bom-bom-breakthrough-creative-commons-instrumentalhttps://soundcloud.com/pipe-choir-2/pipe-choir-almost-time-instrumental-creative-commonshttps://soundcloud.com/pipe-choir-2/pc-one-a-dark-blue-arc-creative-commons-instrumentalhttps://soundcloud.com/pipe-choir-2/pipechoir-followers-instrumentalhttps://soundcloud.com/pipe-choir-2/p-c-iii-the-opening-closinginstrumentalcreative-commonshttps://incompetech.com/music/royalty-free/index.html?isrc=USUAN1500077https://soundcloud.com/ayneohnradley/blues-rock-original-instrumentalcreative-commonshttp://www.pipechoir.com/

This week, in fair Verona where we lay our scene, we're talking about Juliet Capulet and Romeo Montague from the 1996 adaptation, Romeo + Juliet. Join Zama as she geekily wonders why this couple was held back, how Romeo was a Gone Boy™️, and why choosing him was special to Juliet. We cross more stars in this week's battle. Be sure to vote for your favourites on our Twitter poll. Do be sure to follow us on Twitter @ StarringCupid and on Tumblr @ Starringcupidpodcast for updates and more content.

With a Kiss I Die (2018), dir. Ronnie Kahlil, is--okay, so what if Juliet Capulet, like from Romeo and Juliet was a vampire living in modern Greece, being sad with her tiddies out, and she fell in love with a woman for the first time? Like what if that happened? Sounds fucked up if you ask me. Hal, Autumn, and special guest Zoa Coudret (my roommate!!) talk about the logistics of vampirism, the rich potential of gay Shakespeare adaptations, and how beautiful and wonderful Ella Kweku's face is in this spooky Halloween episode of Okay, But Is It Gay?. TW: suicide, suicidal ideation, full frontal nudity, death, blood, body horror, cancer, death, death of a parent, and sexual assault.

"What's in a name? That which we call a rose by any other name would smell as sweet." -Juliet Capulet   We all know people with common names. Matthew went to high school with two Jeremy Johnsons who lived across the street from each other. Matthew himself hangs out with three other Matts on the regular. But even so, it's rare that one is confused for a perfect stranger on the basis of name alone. Welcome to Matthew's personal Twilight Zone episode.

Summary: How do we wrestle with the realities and complexities of our family situations today? How do we properly sort through the blessedness and the brokenness? Is it worth it to dig up all the dirt in order to move forward? How do we identify and interact with our biological families and the world given that Scripture tells us that when we're united to God through Christ we become a member of a new family?Transcript: This media has been made available by Mosaic Boston Church. If you'd like to check out more resources, learn about Mosaic Boston and our neighborhood churches, or donate to this ministry, please visit MosaicBoston.com.Man, it's hard to get up here and preach after Caleb and Pastor Shane pray, basically do a full sermon. Good morning. My name is Andy. I'm one of the pastors here at Mosaic. If you're new to Mosaic, we're thrilled to have you here. In our bulletins, we have a connection card. We want to get to know you. We went to live in community with you and let you know about what we have to offer in terms of community groups, service groups. You can hand those in at our welcome center if you want a special gift.Please join me in prayer. Heavenly Father, we come to you today with various family backgrounds. Lord, some of us come from brokenness. Some of us know blessedness very well. Some of us it's a mixed bag. Lord, we try to make sense of it of ourselves, and sometimes we identify ourselves too much by the brokenness, too much by the blessedness. We stray from clinging to who we are in you. Lord, we pray, please help us to define ourselves by who we are in your family through our faith in Jesus Christ. Lord, help us to know how to face our families with our new identity, face the world with our new identity. Lord, we pray, help us to lean in to you, the true source of love today.Holy Spirit, please be with us as we dealt into some difficult, potentially painful topics for some of us here today. Let your Spirit comfort us. Let your Spirit guide us. Let your spirit keep our gaze on Jesus Christ, on the cross. Lord, we pray this in Jesus' name, amen.Today, we're continuing our series. It's called Tough and Tender: Developing Resilience for Life. Despite our personal preferences to choose a side of Jesus that we like, Jesus was a man who came and told us to love our enemy. If he turns and speaks against us or hits us, he told us to give the other cheek, but he was a man who spoke hard and firm truth. He was not one or the other. He split both sides right in the middle. He walked that narrow path in life.We've been talking on some difficult topics to breed resilience in ourselves as Christians. We're trying to give you all a vision for what it would be like if our society was filled with people just like Jesus, tough and tender. Today, we're making sense of our family origins and we're going to be asking how do we embrace the blessedness and face the brokenness. How do we face what's good in the right way, face what's bad in the right way as well?Why bring this up in this series? Why bring this up at this specific moment in history in Boston? First of all, at Mosaic, family or origin issues are the most common issue that comes up. I was in my residency role the past year, and just time and time again so many people come to me and say, "Andy, you don't know just what it was like in my family."We're a young congregation. A lot of us come from brokenness, and we're at the point where we're learning how to move forward from that with our new identities in Christ. Some of us are even scared that we have just those difficult family members, those influential family members, those shepherds of our past that were not good influences. We're afraid sometimes that we're appearing to be just like them.Some of us come from strong families with a good Christian heritage. As we're getting older, we're realizing that our parents are not perfect. The people that once fulfilled your every need that seemed perfect and indestructible, you realize as you come of age that they're not perfect.Even those of us who come from a strong background, a strong family heritage, a strong faith tradition or denomination, it can be even harder for us to see the brokenness in our situation. Today, we need to ... We all come from families. We all have brokenness that we need to deal with.We don't just need to talk about this because we're a young church. God is the creator of the family. There's a lot of therapeutic approaches, a lot of theories going around about how to help people to reconcile both the good and the bad of their past. The Bible is all about a family. God creates Adam and Eve in the garden, and he lives in perfect communion with then before they sin. They sin in Genesis 3, and for the rest of the book, all 66 books, it's a story about God trying to unite his family. Man sins over and over again. God keeps pursuing them, pursuing them, pursuing them. We need to turn to God to enter into this conversation.Just a lot of the therapeutic strategies out there, they harp on the past. They suggest delving into the past. If you take a look back at your life, you can learn more about yourself, and that can help you move forward. If you can find the deficiencies of your upbringing, you can figure out ways to address them and be stronger going forward. If you can shed the influence of your parents and the morality that they introduced to you, you'll finally be free to be great, the great and accomplished person that you were created to be.These approaches in which looking back, they're particularly attractive to those of us with broken family backgrounds. Since the garden, Adam and Eve, when they sinned, what did they do? God came to them acting as if he didn't know what they did, and he asked Adam and Eve, "Where are you?" They both hid. They're trying to hide the shame of their sin. They both point the finger at each other. They're trying to deflect the blame. The problem with some of these approaches that say look back, look back, look back to move forward is that it appeals to that fallen nature within ourselves to cover up, to point the finger, to blame others.Then on the other side, there's a way of looking back at the good things that's promoted using nostalgia. Andrew Abeyta, a researcher at Rutgers-Camden University published an article in The Journal of Personality and Social Psychology in 2015 about looking back to move forward. It suggest how one can use nostalgia as a psychological resource for promoting relationship goals and overcoming relationship challenges. It's an interesting article, and it seems that relying on nostalgia can be influential in helping us overcome challenges in relationships, and I think that captures a lot of those people who come from good backgrounds.When things in life get difficult, when we face challenges, when relationships break down, especially for the first time, we cling to the past. We go on saying if things could only be the way they were with my family, I would have peace again. If only I had success in this area, I would just have peace and joy. We're like Bruce Springsteen singing Glory Days over and over again, and we just keep trying to relive them. We go on trying to satisfy our lack of satisfaction in our hearts just by just pursuing and feeding our co-dependence, going to relationship to relationship, church community to church community, job to job, finding friends with whom we can pursue squad goals, but we never get ultimate satisfaction. We never grow substantially, and we struggle to engage in relationships and live in the present.Today, I don't want to argue about the dynamics of modern counseling approaches. I don't want to say don't go to counseling. If you are in a desperate situation, come talk to the pastors. Talk to people in your community group. Talk to pastors. We have our prayer team up here after the service as well. If you just during the week have nowhere to go, pursue that care. But I just want to point out these issues, these treatments, they're mainly forces of nursing. They're only treating minor internal issues. It's like putting a new kitchen in a house when the foundation is damaged.In Christianity, it's neither nature or nurture, nursing nor nostalgia that determines a person's direction in life. It's the nativity that makes people new. As fallen sinners, only faith in Jesus can fix our foundation.Today, I want to talk about in order to face the blessedness and brokenness of our earthly family like Jesus, we should embrace a new family identity, face family as a lamb, face family as a lion, face family with God. Obviously, I'm keeping, if you've been with us, with the lion and lamb imagery, but I promise that I won't have 10 sub points in this sermon. I really wanted to, but I want to sit on some of this other stuff today.Where do I get these instructions from? Embrace a new family identity, face family as a lamb, face family as a lion, face family with God. I get this from James 1:1 to 5. Please listen along as I read God's Word. "James, a servant of God and of the Lord Jesus Christ, to the 12 disciples in the Dispersion: Greetings. scattered among the nations: Greetings. Count it all joy, my brothers, when you meet trials of various kinds, for you know that the testing of your faith produces steadfastness. And let steadfastness have its full effect, that you may be perfect and complete, lacking in nothing. If any of you lacks wisdom, let him ask God, who gives generously to all without reproach, and it will be given him."Embrace a new family identity. If any of you know the book of James, as I'm sure many of you do, and just listening to this text, you learn that this is not a book specifically about family. It's not about how to deal with your family brokenness and blessedness. Some of you might be asking, why are we here?What makes this text relevant is who James is talking to. Verse 1, "James, a servant of God," he's speaking to the 12 tribes of the Dispersion. That's he's speaking to the Dispersion. That's language in reference to just the Jews. They were spread throughout the region. He's calling them my brothers. He's writing ... James is the brother of Jesus. He's writing to Jewish brothers, Jewish Christians.Just what's so important to emphasize here is this audience. Like we think we have it bad in Boston. Like we face some intellectual persecution. It's hard to find a Christian date or partner, because there's so few Christians here. Raising a kid here, we think it's difficult, like fighting the squirrels away in the Boston Common. We think like we have it tough, but first century Jewish Christians had it really tough.This is something that a lot of us, it doesn't make sense. Christianity seemed to have taken off at Jerusalem, but you have to remember the Christians of this day, they were mainly in lands occupied by Roman pagan soldiers. These soldiers did not, and the rulers, governors didn't hesitate to rule with an iron fist if they didn't like someone, didn't like a group.But just with that lingering potential persecution, the Jews had to deal with persecution from other Jews. We think of the apostle Paul when he was Saul, just pursuing them jealously. But not just in public, but they faced persecution within their own families. You have to think like for a Jew to leave their family, a cult steeped in tradition, we're talking about people who knew their family heritage. They should state it orally going back hundreds and hundreds years. Like this, becoming a Christian in that day was the ultimate betrayal.We think of a Red Sox fan switching to the Yankees, Barcelona fans switching to Real Madrid, a modern Democrat switching to Republican. I'll stop. Juliet Capulet marrying Romeo Montague. Forgive my French. More seriously, like an orthodox Jew or devout Muslim becoming Christian today. These Jews were people that would've had to scrounge to survive. When they gathered for worship, they would have been on the lookout for zealots. They would have been on the lookout for the Roman authorities.Just scriptural support from this comes from Galatians 2:7 to 10. "On the contrary." This is the apostle Paul talking about some of his early interactions after his conversion. "On the contrary, when they," the church in Jerusalem, "Saw that I had been entrusted with the gospel to the uncircumcised, just as Peter had been entrusted with the gospel to the circumcised, and when James, and Cephas, and John, who seemed to be pillars, perceived the grace that was given to me, they gave the right hand of fellowship to Barnabas and me, that we should go to the Gentiles and they to the circumcised. Only they asked us to remember the poor, the very thing I was eager to do."The poor that Paul's talking about in verse 10, these are Jewish Christians. When you read through the book of Acts and Paul's other writings, you find that you on his missionary journeys traveled across the region towards Europe to collect money, hundreds of miles of travel, and take it back to the Jews in Jerusalem, because in such a heavily populated Jewish area they were the poorest Christians. They were facing really difficult circumstances.Therefore, the book of James, it's not specifically about our earthly family, our biological family, but it's a book written by a pastor with a congregation full of people who had extreme family issues. If they weren't steadfast in their faith, they were always wavering over whether to continue to face the potential persecution and abandonment for the sake of Christ, or they could return to their families where they had heritage, they had peace, they had comfort.This is specific advice, and this begs the question, why would these Jewish Christians leave their families? Why would they risk this persecution and this abandonment? Some of them did choose to leave. Others were kicked out.Obviously, I mean most people are logical. They don't just leave something just because. They typically choose something because it's better than the previous option. Scripture talks about believers in Christ, they have a place in the kingdom of heaven. "The kingdom of heaven is like a treasure hidden in a field, which a man found and covered up. Then in his joy, he goes and tells all that he has and buys the field." These early Jews believed that, Jewish Christians.The early church heeded the words and took these words literally. "And everyone who has left houses, or brothers, or sisters, or father, or mother, or children, or lands for my name's sake will receive 100-fold and will inherit eternal life." They believed that, and following Jesus Christ they had a means of salvation of peace before God, but also an eternal inheritance.They also believed they're joining a new family with access to a father. Romans 8:31, "If God is for us, who can be against us? He who did not spare his own son but gave him up for us all, how will he not also give him ... how will he not also with him graciously give us all things?" They have a new heavenly Father that will never fail them.Finally, in Ephesians it talks about they're joining this line with all the faithful saints and prophets of old, united by the indwelling of the Holy Spirit. "So then you are no longer strangers and aliens, but you are fellow citizens with the saints and members of the household of God, built on the foundation of the apostles and prophets, Christ Jesus himself being the cornerstone, in whom the whole structure, being joined together, grows into a holy temple in the Lord. In him you also are being built together into a dwelling place for God by the Spirit."These people, these are benefits that the early Jewish Christians just saw and they wanted to ... They took them up. They left for the better option, but they also would have known the scriptures. Just when you read through scripture, again it's about a family.I just want to take you through the brokenness presented in Genesis, and these Jewish Christians, they were the ones, not their families who stayed devout Jews, these were the ones who knew that Jesus was the Messiah. He was just the figure they looked for all along.You think of Adam and Eve. They immediately disobey God in the garden. Their firstborn kills his younger brother. Abraham and Sarah, who received God's promise, because of infertility, Sarah gives Abraham and concubine and then gets mad and jealous when she gets pregnant. Lot, Abraham's nephew, gets drunk. His daughters get him drunk, they seduce him, commit incest.Isaac and Rebekah, Isaac, Abraham's son, they play favorites with their twins, whose sibling rivalry becomes one of the worst in history. That's Jacob and Esau. Esau has no discernment, sells his birthright for a bowl of soul. He marries a Canaanite woman. Jacob, he manipulates Esau to give him his birthright. He shows extreme favoritism to one child, Joseph.Uncle Laban, he deceives Jacob at one point. He makes Jacob work for years and years and years to offer him Rachel, the beautiful daughter, but he gives him Leah. Jacob's daughter Dinah is raped by a pagan, and then her brothers go and kill a whole village. Jacob's oldest son Reuben can't resist his incestuous desires. He sleeps with his father's concubine, the mother of some of his brothers. Ten of Jacob's sons, they plan to kill their brother, but instead they decide to sell him into slavery.Judah, one of Jacob's sons, as a widower he frequents prostitutes. This is the one who's Jesus ... who started the line towards Jesus. This occurs frequently enough that his daughter-in-law Tamar, whom he had dishonored, knew that she'd disguise himself with one. He slept with his daughter-in-law and got her pregnant.That's Genesis, but the list just begins. It's blunder in the Old Testament, blunder after blunder by the priests. Lots of false prophets. King David, a man after God's own heart, commits adultery. Solomon, after David unites the kingdom, he unwisely marries 1,000 women.I'm going, I'm going, but you read the Bible and a lot of Christian traditions talk about the Old Testament figures as heroes, and in many senses they were heroes in the sense that they pointed to Jesus Christ, but it's a whole story of brokenness. For the Jews of Jerusalem, the Jewish Christians of the early days, they would have been starving. They had read the scriptures. They studied them. Jesus was the fulfillment. He was finally that perfect figure, the one who fulfilled the Law, the second Adam that did not sin, the Christ, the Savior to whom all the prophets ... about whom all the prophets spoke of.These Jews, they were standing on a rock. They had a foundation. Were they to dwell on what they left behind? Are we to dwell on what we leave behind? Do we dwell on the good things, the bad things?The apostle Paul just captures the spirit of the mindset that Christians are supposed to take as they go forward. Philippians 3, "But one thing I do, forgetting what lies behind and straining forward to lies ahead. I press on toward the goal for the prize of the upward call of God in Christ Jesus. Let those of us who are mature think this way, and if in anything you think otherwise, God will reveal that also to you. Only let us hold true to what we have attained."2 Corinthians 2, "For I decided to know nothing among you except Jesus Christ and him crucified." Colossians 3, "If then you have been raised with Christ, seek the things that are above, where Christ is, seated at the right hand of God. Set your minds on things that are above, not on things that are on earth. For you have died, and your life is hidden with Christ in God. When Christ who is your life appears, then you also will appear with him in glory."I hope I'm getting redundant here. This is a little bit in counter to the movement, the tendency not just of our current day, but of our flesh to want to look back to find excuses for our state of trouble, our state of pain, our state of affliction. In Christianity, it's a forward looking mindset.A lot of Christians, they never grow. They come to faith. They love the gospel. It brings joy to their soul and peace to their hearts, but a lot of them are like the lead character of The Count of Monte Cristo, Edmond Dantes, the lead character. He's unjustly framed and thrown into jail, a medieval jail, and he's there for years. He sleeps on a dirt floor, just in isolation for years. After several years, he escapes and he righteously comes upon a great fortune, a buried treasure. He buys himself a great estate with a mansion and he tries to create a new identity as the Count of Monte Cristo. He has everything he ever dreamed of while living in his jail cell, but he can't completely shake his old identity. At one point, his servant discovers that despite his lavish mansion and bedroom, despite the comforts, the count still sleeps on the floor at night.That's a lot like us. We come to faith in Christ. We're privy to God as Father. We're privy to forgiveness. We're privy to the means of sanctification and grace, but we're still sleeping on the floor. We aren't owning our new identity. We're defined by our family background, both good and bad.What did those members of the early church dwell on and meditate on daily to walk forward? What news powered them each day to face the hardship that they faced? They had family wounds lingering. They had temptation to go back to the comforts and the traditions.At the heart of Christianity is a Savior who is both born into both blessedness and brokenness. Jesus was conceived out of marriage in a day and culture when it was socially and religiously preposterous. When he was brought to the temple, his parents gave the payment that was paid by the poorest of the Jewish community. He could have let his circumstances and dishonorable nature and birth define him, but he didn't.Jesus could have swung the other way. He was after all the Son of God. He could have proudly used his prodigious knowledge of the scriptures as a means to build us his title within the community. As the chosen one, the son whom the Father sent, the Son of David, Jesus could have used his powers and authority to garner earthly acclaim. Could have denied the cup and established an earthly kingdom, but he didn't.Jesus had every problem to wallow, every reason to wallow in the brokenness or to cling and bask in the pride stemming from his gifts and calling, but instead was a man whose entire identity was built on who he was in relation to his heavenly Father. When Jesus said, "Into your hands I commit my spirit," he experienced ultimate abandonment, despair, excruciating pain at the hands of his Father. He relinquished ultimate power, pedigree, wealth, acclaim. He offered himself completely to God and his purpose. He knew that his Father had the love and power to redeem such a tragic moment. He's wiling to set aside all vendettas and potential momentary exaltation for our eternal exaltation.We need to follow in the steps of Christ. We need to embrace our new family identity. We cling to our family, this new family identity. If you're not, this is waking up each day grounding yourself saying, "Lord, I am satisfied in you."But how do we interact with our earthly family? Are we to leave them, to break all ties with them? Matthew 19:29, are we to literally leave houses, or brothers, or sisters, or father and mother? We don't take that part literal. In some cases, yes. If they resist us and prevent us from worshiping God, we might have to take those steps, but it's the principle. Trust in God first. Follow God first. Be willing to give all of your life, even the slowest relationships with the people closest to you to follow him.If we are to continue to interact with them, how do we face them? This is point two, face family as sheep. This comes from James 1:1 again. Sorry. My favorite preacher can do like an hour with two words. "James, a servant of God and of the Lord Jesus Christ." We get this just face family as sheep just by thinking about who James is.James is a man who could have pulled rank. James is the brother, the earthly brother of Jesus. His parents, Jesus' parents were Mary and the Holy Spirit. James's parents were Mary and Joseph. Look what he calls himself here, "James, a servant of God and the Lord Jesus Christ." This word for servant, that's doulos, servant, slave. Like he's saying I'm a slave of God and Jesus Christ, my brother who I grew up with. James in that day, he could have pulled rank. He's the pastor of the church in Jerusalem.Then in verse two, he calls his audience brothers. James has a lamb mentality. Even though Jesus was his earthly brother, James knew that Jesus was the Savior, and that just humbles him.This is the part of the sermon where I really could just give you 10 practical points of how do we face our families as humble lambs, humble sheep, but I think ... and giving you those 10 sub points. But I just want to pause here. I don't want to be too firm, but I just want to ask some pointed questions. Some people come to church week after week for year after year. They're scribbling down the 10 sub points every week. They're at community group. They're giving faithfully, but there's heartache tied to family brokenness that they can ignore for decades.Just thinking about James, a man, a pastor, Jesus' brother, well studied in the scriptures, lots of wisdom, he shows his humility. He doesn't pull rank. He united himself with his congregation. I ask, who in your family could you pull rank on? Who are the people you're pulling rank on? By that I mean with whom do you have the high moral ground? Have you forgiven them? Have you pursued reconciliation?Who in your family has sinned against you? Who's that person that you're avoiding just because the history is too complex? Who are you tempted to blame for the many problems in your life? What are you doing to pursue that person's salvation? What are you doing to pursue that person's sanctification if they are a Christian?Colossians 3 says, "Put on then, as God's chosen ones, holy and beloved, compassionate hearts, kindness, humility, meekness, and patience, bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive."Luke 6:27 to 31. "But I say to you who hear, love your enemies, do good to those who hate you, bless those who curse you, pray for those who abuse you. To one who strikes you on the cheek, offer the other, and from one who takes away your cloak do not withhold your tunic either. Give to everyone who begs from you, and from one who takes away your goods do not demand them back. And as you wish that others would do to you, do so to them."A lot of Christians love these verses, and like a lot of you who will hear this, shake your head. This sounds great, but there's often that one person or those few people in everyone's life for whom we make an exception to these verses. The wounds, the bitterness that we carry from not pursuing reconciliation, from not forgiving, man, they're obvious to everyone but you.It doesn't have to be a family member. It doesn't have to be. It could be a friend, a schoolmate, a whole race of people. Who do you need to forgive? A lot of people when I counsel, I can sit with people and meet with them regularly for a year, and they try to act like I don't notice, but I can meet with them once a month for a year, I never hear about that estranged mother. I never hear about that estranged father.A lot of those people, you might be thinking, "You don't know my situation. You don't know what I've been through." Like that's ... you're right. I honestly knew I was born into blessing, born into a Christian home, raised in the church. I was trained to thank God for that. Like my compassion, I'm so thankful that I didn't have to deal with some of the trauma, some of the pain, physical and emotional, that a lot of you had. But I don't know it, but the Lord does. Hebrews 4:15 says, "For we do not have a high priest who is unable to sympathize with our weaknesses, but one who in every respect has been tempted as we are, yet without sin."Forgiveness, faces your family members as a lamb, it doesn't mean trusting the person. It doesn't mean becoming best friends with them. It doesn't mean letting them back in as if nothing ever happened. It doesn't mean that you don't put up boundaries upon reengaging. It certainly doesn't mean that you put up with physical abuse. At Mosaic, we do not support that. If anybody is experiencing that, if anybody is facing that, let us know. Let us know how we can help you do whatever you can to get out of your situation.Forgiveness means committing in your soul to leave a situation in God's hands, to trust that he will ultimately bring justice, and therefore that you won't hold a sin against the person anymore. You commit not to bring the sin up, not to dwell on it in your heart, not to let it fester and stir up bitterness and self pity. Some people who are victims of just traumatic assault and tragedy, you don't take on the burden for the wounds afflicted against you. We all born in the image of Adam are sinners. We have to turn to Christ in faith to deal with our sin, but we don't ... you are not responsible for that sin.Brandt Jean, a young African-American man, made an amazing courtroom statement a few weeks ago to a former white female police officer, Amber Guyger. Amber shot his brother. In the statement, Brandt told her that he forgave her. He wanted her to go to God with her guilt to ask for forgiveness. He told her that the best thing he thinks she could do was to give her life to Christ. He told her that he loved her as a person, told her that he didn't wish that she served time, and he wanted to hug her.That was just an extreme, beautiful example of forgiveness, but we don't have to use his specific language. We don't have to want to hug them. We don't have to wish that people don't serve proper and just legal time or face proper civil punishment. But we're called to be good stewards, not just of our finances as we learned last week, but good stewards of God's love and grace.1 John 3:16 to 18 says, "By this we know love, that he laid down his life for us, and we ought to lay down our lives for the brothers. But if anyone has the world's goods and sees his brother in need, yet closes his heart against him, how does God's love abide in him? Little children, let us not love in word or talk but in deed and truth." James is also famous for saying, "Faith without works is dead." If you know God's love, you're a steward. You share it. You give it to others.What's at stake when we don't cling to our new identity? What's at stake when we don't face our families, family members like sheep? We go back to James and talk about facing family as a lion. "Count it all joy, my brothers, when you meet trials of various kinds, for you know that the testing of your faith produces steadfastness. And let steadfastness have its full effect, that you may be perfect and complete, lacking in nothing."James tells his brothers to count it joy. That's what's at stake when we're not clinging to our new identity, when we're not facing our family as lambs. We're losing out on joy. Additionally, we're losing out on steadfastness that leads to perfection that leads to completeness that feels like we're lacking nothing, a perfect soul satisfaction.Throughout the book, again it's a book specifically about family, James lists many trying situations as tests, poverty, suffering, sickness. It also lists many good situations as tests of faith. Are you wealthy, healthy, in a new job, in a new city, in a position of authority? He's saying, "Surely you're going to face trials in this life," but we can apply that and say you are going to face trials in your family life.James kind of has a madman's mentality. We don't just ... A lot of people go through that honeymoon phase and you're just shocked when that first trial comes upon us, upon you. But he says count it joy. That trial, especially those within our family, that's a stamp of God's love on your life. We think of this as awful. Like the last thing that I want to do when I see my family is dig up the dirt, bring out the areas where there isn't reconciliation, bring out the areas that have just not been addressed for years.I heard a song on the radio somewhere in the low 90s, where you never know what you're going to get. It was a country song by Uncle Johnny and the Bullfrogs. No, it wasn't actually called that. I heard ... It was on like the scan mode. I heard one line, and it said, "You want the spark, but not the burn." That's a lot of us in relation to our families, and even in our Christian life. We want the good things.When I see my family, like I'm tempted to visit. I just want to visit nice places, eat, drink, turn on the TV, avoid, do all that I can to avoid those difficult conversations, reminisce, and avoid that conversation of, "Mom, dad, are you going to church? Mom, dad, are you pursuing your relationship with God? Siblings, where are you on your faith?" We want the spark. We want the good things, but we don't want the burn. If you do family right, in the church and in your nuclear families, like there should be some burn.That's the benefit of family. By your connection through blood, you have a naturally stronger connection. You can risk hard conversations. You can risk poking and nudging, and they are still tied to you, whether they like it or not. Of course, pursue them in gentleness, love, respect, but take advantage of the fact that your family, whether they disagree with you or not, like they have to stay connected to you. It's just that intimacy that you have just in being fully known yet fully loved that we experience in family that points to the love that's complete and perfect in God.Just in scripture, this 1 Corinthians 7, Paul tells his audience stay where you are in many situations. We need to ... The first instinct is to book it from our families, but we have to take advantage of the roots and connections we have with people. Show them you've changed. How can you convince the people in your life that you've changed through your relationship with Jesus if you're never around them, if you don't even know them beyond a shallow level?This is hard. When you're living far away, like many of us here, whether you're a single or a young couple living away from family, or whether you're parents here living away from your children or parents, it's really hard to do this from a distance, but you need to be creative. Be practical. How can you engage your family members? As a church plant, we really want you to stay, but we need you to invest.Why do we do this with our family? Why do we pursue them with zeal? It's out of response, out of love, out of gratitude for Jesus, for God who continued to pursue us and pursue us, pursue his people over and over again. I went through the Genesis sin trail just to illustrate man's brokenness. God pursues us as a good shepherd seeking that one lost sheep out of the 99.Why do this in our family? James 5:19 says it's good for them. "My brothers, if anyone among you wanders from ..." This is the last words of the book. "If anyone among you wanders from the truth and someone brings him back, let him know that whoever brings back a sinner from his wandering will save his soul from death and will cover a multitude of sins."That family member that hurt you, just that person I asked you to think about or those few people, do you really want them to have eternal separation, eternal condemnation from God? When God pours out his wrath on the world, do you want them to taste that as Jesus once did?Also, why pursue our family with zeal? Why not just sit back and relax with them all the time? It breeds steadfastness, perfection, completeness. You learn it's more blessed to give than to receive. It's more blessed to be a blessing. Your tastes and desires change from things that you like to things that are good and godly. You go from drinking coffee with sugar to drinking black coffee, drinking soda to water. Do you really want full soul satisfaction? Pursue the salvation of those people around you, the people who you are most naturally connected to in this life to bring about salvation, to be used to bring about salvation as your earthly family.It's painful. Count it all joy when you receive kinds of various trials. I hate trials. In my own marriage, I hate when Joyce and I have a disagreement. It's not just an argument. Any form of disagreement I want to avoid, but by God's grace I've learned the benefit. I've learned the joyful part of it. She's often just like spewing truth after truth after truth at me, and I don't want to hear it, but in the back of my mind ... Sometimes I'm spewing out bitterness, saying, "No, no, no." At the back of my mind though, I'm learning to say, "Yes, yes, yes. This is rooting out the impurities of my soul. This is good for me. This is good for our marriage. We are growing here, and I want more of it."I'm calling you to face your family as lions. Facing family as a lamb, that's the heart that we have. Face your family as lions, pursue their salvation with the zeal of the lion going after its prey.Now, face family with God. We're not alone in doing this work. Clinging to your identity in Christ just daily, that's difficult. Pursuing those family members with the heart of a sheep, those people that you don't want to pursue and just being constant in it like a lion, it's tiring, it's confusing, often don't know what you want to do. James 5 gives us some comfort. "If any of you lacks wisdom, let him ask God, who gives generously to all without reproach, and it will be given to him."James wrote for this people about church problems, but we certainly need to ask God for wisdom in engaging our families. For many of us, we'll find satisfaction with the words that we can pursue God without reproach. He's a Father that's never going to tire of us coming into his presence to ask for wisdom, ask for discernment, ask how to navigate the situation.Why is that the case? Like there's a connection when we do that, when we humble ourselves to the point that we say, "God, I need you. I needed Jesus to go to the cross to die for me, to save me from my sin. I need your help right now in this moment to work out my salvation with fear and trembling. I need your wisdom to deal with this difficult family situation right here." That's a correction. That's a recalibration of who we are before God. That's the position we were originally created to be.Adam, his first relationship was not with Eve. It was before God, having peace with God. Adam walked in the garden, tilled the garden. He named the animals with God. He always needed God to guide him and to be submissive to him. We are creatures. God is the creator. When we're in this position properly, when we see our need for God, we're able to see our family situations properly. Just notice, if any of your lacks nothing at the beginning of the verse, like this is saying God offers us everything. We see family properly.Some of you are expecting too much from your families. Some of you place way too much pressure on your fathers and your mothers, whatever were those primary figures in your life, those shepherds. You want them to fill the ... those old shepherds to fill the role that only the one great and true shepherd could fulfill. Family is designed in this life to not fully satisfy. It's only when we're in relation to God, submitting to him, turning to him, being reliant upon him that we are in our proper place, that we can have full satisfaction, that we can have peace, that we can feel fully secure, that we can see, just understand, make sense of the blessedness that we've tasted, not make idols out of that, and make sense of the brokenness. God, how are you using this brokenness that I've experienced for your glory? It doesn't make sense, but I trust you.To close, I just want to read Isaiah 58:9 to 11. This is the prophet Isaiah. "Then you will call, and the Lord will answer. You will cry for help, and he will say, 'Here am I.' If you do away with the yoke from your midst, the pointing of the finger, and speaking wickedness, and if you give yourself to the hungry and satisfy the desire of the afflicted, then your light will rise in darkness, and your gloom will become like midday. And the Lord will continually guide you, and satisfy your desire in scorched places, and give strength to your bones. And you will be like a watered garden and like a spring of water whose waters do not fail."Do you want that? Just turn to him, position yourself properly before the Lord. You'll know how to make sense of your family situation. Please join me in prayer.Lord, we praise you that we don't have to be people that look back. We don't have to be constantly searching for a new identity. Lord, we have a sure foundation in you. You're a good Father that loves his children, and pursues them, and pursues them, and pursues them even when they sin against him, and yet you still offer eternal riches. Lord, we just pray that we would cling to you, cling to who we are through you, and that would give us a heart to pursue our families, a heart to pursue them with the proper heart of humility, with love, with grace, with gentleness, and also a zeal to be constant in the pursuit.Lord, we pray, help us to find rest, find peace, find completeness, perfection, full soul satisfaction when we pause to turn and gaze upon you and ask you for guidance as we just wait upon the day that you return. We pray this in Jesus' name, amen.

This week we have strong opinions about Romeo and Juliet.  We discuss the lesson of the play and why we think most people get it wrong.  You also get a window into Diana’s childhood of recreating tragic scenes. Fictionalfemales.com

Two Breeders' Cup-bound jockeys from different backgrounds join the show -- Louisiana's Kendrick Carmouche, and the high-society, European stalwart Frankie Dettori.

While working with some 9th graders on Juliet’s “Gallop Apace” speech in Romeo and Juliet, I opened the door for the students to tell me what was happening. They worked it out faster than most groups do and quickly leapt to interpretation. One girl reported that Juliet was scared to have sex for the first time. I asked her to tell me where she saw that in the text and the line she pointed to means nothing of the sort. You can read the rest of Juliet Capulet, Feminist Role Model on the blog. This is Episode 15. Song: Shade the Moon by Bright Red Boots To support the podcast: Join my mailing list: www.emilyrainbowdavis.com/ Like the blog/show on Facebook: https://www.facebook.com/SongsfortheStrugglingArtist/ Support me on Patreon: www.patreon.com/emilyrdavis Or buy me a coffee on Kofi: http://ko-fi.com/emilyrainbowdavis Follow me on Twitter @erainbowd

Puppy Love, Hit It Off, Whisper Sweet Nothings, On the Rocks, Head Over Heels (in Love) Romeo and Juliet (Capulet, Act I, scene v) (whisper sweet nothings) Welcome, gentlemen! I have seen the day 16 That I have worn a visor, and could tell A whispering tale in a fair lady’s ear Such as would please; ’tis gone, ’tis gone, ’tis gone. Subscribe to this podcast in Itunes or download to your computer or MP3 player.  To make a comment if you are in China, send me email chinalewis@yahoo.com

Alphabet Soup"What's in a name?" When William Shakespeare wrote this question for Juliet Capulet in "Romeo and Juliet," it was a vehicle to release the characters from the bondage of their family names. While that undoubtedly worked as a theme in this classic tragedy, good old Bill didn't publish the work untitled because he knew how important a name really is when trying to draw patrons into a theater, customers into a store or buyers to a product.That's why a name in today's high pressure retail world has never been so critical. With a cornucopia of seemingly endless products and advertisers blanketing a consumer's every waking moment, you've got to machete through the clutter to make a name memorable.This is where some critics believe many of today's automakers have fallen short. From the "alphabet soup" of certain luxury brands to the head-scratching monikers of some midsize fare, customers sometimes don't know if they're buying a car or a croissant.So this is where a company like Namebase, Inc. comes along. This New York firm specializes in designing a name to a product so they fit in a variety of ways. It has clients in a number of industries and has named everything from goods that you wear, to products you consume, and most importantly for this show, those that you park in your garage.Joining John McElroy on this week's panel to discuss the auto industry name game is Nina Beckhardt, the president and creative director of Namebase, Inc., Jean Halliday from Advertising Age and Peter De Lorenzo of Autoextremist.com.

Alphabet Soup "What's in a name?" When William Shakespeare wrote this question for Juliet Capulet in "Romeo and Juliet," it was a vehicle to release the characters from the bondage of their family names. While that undoubtedly worked as a theme in this classic tragedy, good old Bill didn't publish the work untitled because he knew how important a name really is when trying to draw patrons into a theater, customers into a store or buyers to a product. That's why a name in today's high pressure retail world has never been so critical. With a cornucopia of seemingly endless products and advertisers blanketing a consumer's every waking moment, you've got to machete through the clutter to make a name memorable. This is where some critics believe many of today's automakers have fallen short. From the "alphabet soup" of certain luxury brands to the head-scratching monikers of some midsize fare, customers sometimes don't know if they're buying a car or a croissant. So this is where a company like Namebase, Inc. comes along. This New York firm specializes in designing a name to a product so they fit in a variety of ways. It has clients in a number of industries and has named everything from goods that you wear, to products you consume, and most importantly for this show, those that you park in your garage. Joining John McElroy on this week's panel to discuss the auto industry name game is Nina Beckhardt, the president and creative director of Namebase, Inc., Jean Halliday from Advertising Age and Peter De Lorenzo of Autoextremist.com.