In 1983 I wrote my senior undergraduate thesis comparing and contrasting the life and works of two great writers I’ve long admired–Franz Kafka and Flannery O’Connor. Both authors’ works are unusual to say the least. Franz Kafka’s “The Metamorphosis” begins with a man finding that he has been transformed into a giant insect; Flannery O’Connor’s “Good Country People” ends with a corrupt bible salesman seducing a strange young woman named Joy-Hulga and stealing her artificial leg.
Many question why a devoutly religious woman from Georgia would write stories with such unusual, grotesque characters and such unsettling, even shocking, plots. One person wrote O’Connor and asked her why she wrote the way she did. Her answer still speaks to me:
“To the hard of hearing you shout, and for the almost blind you draw large and startling figures.”
CAMPUS: A Novel That Wants to Be a Musical is my attempt to follow in the footsteps of O’Connor. It gives voice to my concerns about what is happening to higher education in this country. It is not intended to be my reality, but it is representative of a reality as I see it.
And lament it.
No, the campus in my novel is not representative of the campus where I work or any campus where I have ever worked or studied. The characters, even the human ones, are not descriptive of any person I have ever met. They are symbols only, but they serve my point and they speak for me.
They give me a voice again.
And it’s kind of a funny voice, I think.
The newest episode, that you can access at this link, introduces the fairy godteachers Belinda McBride and Brian Teasdale and features a song with music written and performed by Curtis McCarley, my good friend, former student, and composer for our play A Carolina Story. I had fun singing backup.