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• W2022307274 abstract "Famous Last Words Rod McGillis Early this past summer my two daughters, Kate and Kyla (10 and 12 years old respectively), and I sat at the kitchen table and wrote a short screenplay; we intended to film the script sometime before the end of summer. Our collaboration resulted in a rather humdrum situation comedy in which two sisters are playing croquet in the backyard of their home while their father prepares hamburgers on the barbeque. Very quickly into the script, the three eat and begin to discuss hamburger disease. In short order, the father starts to worry that he may have contacted this dreaded disease and his daughters do little to calm his fears; in fact they enjoy increasing his discomfiture. The plot rises to a crisis when one of the daughters calls the doctor. When the doctor arrives it is clear to everyone but the ailing father that he is none other than the younger of the two daughters, the one given to speaking in polysyllabic words. Of course, the father eventually sees through the disguise and the piece ends with the familiar anagnorisis or recognition. I begin what will be the end of editorials for me with this anecdote partly because to do so enables me to speak of my daughters. But I also want to reiterate what we all know: children have, or grow to have, an intuitive awareness of the conventions of story. In this instance, a clear source for the short domestic comedy is The Simpsons, one episode of which involves Homer Simpson's fear that he has been fatally poisoned by eating an ill-prepared blowfish. Like many of the short situation comedies my daughters might see on TV, our little play contains a family and a restricted locale. The plot follows the familiar line: normal family situation, followed by something—most often something deriving from character—that disrupts or complicates that situation, followed by a deepening of the complication, usually accompanied by great dollops of dramatic irony, followed by revelation and return to normalcy. But this little drama, like all little dramas including those on The Simpsons, depends on ancient forms of story. How old is the story in which a father allows an overactive imagination to place him in awkward situations and in which children delight in fooling their elders? My point is simply that children share a knowledge of narrative; although my two daughters would look askance if I asked them to explain what anagnorisis meant, they understand how it works to bring a series of events to a close, at least to a temporary close, if not to closure. Kate and Kyla also enjoyed creating mouthfuls of both colloquial and unconventional prose for the characters in the script, especially for the younger daughter who outdoes Lisa Simpson for precociousness of language. The connection between story and words, that is, the notion that stories are better than they would otherwise be when the words we use to form them are chosen with care, is apparent to children without our having to spell things out for them. But what I really want to speak about is the title of the piece: Daddy's Premature Death. I can't remember now who came up with this gem, but it seemed to satisfy the two girls. I don't think it is simply hurt that speaks when I say that I was uneasy with the title. After all, Daddy doesn't die in the play. But the more I think about the title and the girls' acceptance of it, the more I suspect that they are able to grasp the nettle of deconstruction without experiencing its pain. They like a little freeplay. I suspect that the title does not bother them because they think it funny in the context of the play to speak of death. They know that the father overreacts and that the title is part of the spirit of overreaction the play communicates. Whether they also know that it is possible to play with the title in other ways, I don't know. I realize—after the fact—that the title echoes a Roger Gorman film I saw many years ago..." @default.
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• W2022307274 title "Famous Last Words" @default.
• W2022307274 doi "https://doi.org/10.1353/chq.0.0833" @default.
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