I don't want to write it. Maybe I can guide the personal, make it about something in my life, but that's not necessary. But I don't have the skills to craft it. And I want it to be like any actor reciting from a playwright's words, going through the process of making them mine."We knew who had to write it. Just like the mulatto represented the "real actor" of our group and the one to perform the aside, I considered Princess the "real writer." She took the challenge and through dialogue with the mulatto, pondering her own experiences in relationship to the mulatto's, visits to the library researching comedy and discussions with a professor of drama to make sense of what she read, she created a beautiful if lengthy monologue. Hacking it down to its essentials became brutal but necessary. She retained most of the original for another version, shaping it into an audition piece for the mulatto. A collaborative effort, I never considered myself the director, but I insisted the shorter. Given the purpose and nature of her birth and childhood, Taeko only thought it fitting somehow. You allow to be known what you want to be known and hide everything else. What she knew was that the school had never existed as a place. It had been created and still lived on a very small scale as a method. Well Taeko had traveled to Nagano Prefecture, what had once been known as Shinano Province. Before that, it had been called Shinshu and there she’d found the modern descendant of the old village of Nazu. It had been quite an odyssey. Unless one was privileged by blood and could provide the necessary bona fides that she was a descendant, knew where to make her inquiries, and could back it up to the right people, showing lineage at every generation to pass the first two questionings, it was a dangerous undertaking. The mere act of inquiring at that level was to undertake a risk, since failure to answer to the satisfaction of the questioners would result in her quiet disappearance. Each.
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