I’m definitely amazed…!

I picked up the book in the image — a book I had been anticipating for weeks — and was crying by page 2: recognizing elements of both myself and my son in the first wonderful description of John’s autistic offspring James (the principal character); then, a few pages later, in John himself — although, as I wrote to my son, “the tables are turned with us, I think: me, the autistic father; you, the mega-talented [one]”. Autism can be, and frequently is, a family trait: inherited — at least partially, in my case, I am pretty sure — from my amazing dad. How much of it I have passed on myself I am not at all sure. Plus… it really doesn’t matter. What I do know is that my son truly is multi-gifted, musically (and technically): probably with the encouragement of a whole bucketful of helpful genes from my erstwhile concert-pianist mum, and a few random droplets from me.

And so is James: incredibly talented! (And, like my son, plays the bass southpaw, despite being right-handed.) Many people who are autistic have a ‘superpower’ (or defiantly and knowingly claim that autism itself is their superpower): and his includes in-depth knowledge of huge swathes of rock/pop music; the ability to perform that music to a very high standard indeed, singing, or playing different instruments; as well as absolute, or perfect, pitch.

James, though, struggles to communicate: he “has experiences that he cannot express in words”.

Listen to the waves against the rocks…

It was the top of page 212 that unlocked the floodgates I had been blinking back all day:

For people who are in continual pain, the relationship with bodily risk is different. Pain is not a healthful by-product of healthy exertion or impressive effort: it is a constant companion. You want to limit your time with pain, not encourage it.
    For people who live with fatigue, the relationship with effort is different. Exhaustion is not a healthful by-product of healthy exertion or impressive effort: it is a constant companion. You want to preserve yourself from fatigue, not encourage it.
— Polly Atkin: Some of Us Just Fall

Anyone — and it probably is a one (so thank you, dear reader!) — who has followed this blog over the last eleven years or so (even when it has vanished into the haze of forgetfulness, or weirdly veered down the path less travelled by) will understand my cathartic tears: disability, along with (for me) its constituents pain, fatigue (sans sleep), and an overwhelming desire to walk (when I shouldn’t), are the chief characters found amongst the subplots cunningly pushed through these pages, as they are throughout my life. Since three other motorists did their best to render me immobile (or worse), and (much later) my heart suddenly stopped (ostensibly because of a drug I was taking to alleviate one of the main aspects of the disability caused by those earlier collisions, but actually caused by a congenital genetic mutation), disability and illness have become intertwined both in my life and in my mind (although possibly in different ways). They have also become my necessary guides (although possibly not always in a good way).

I find myself again with my dear old friend, William Shakespeare…

I never thought to hear you speak again.
– Shakespeare: Henry IV, part II (IV.v.90)

I was walking back into the arms of a lifelong friend – sadly, one not seen for quite some time. Hence the ferocity, sincerity, and length of the resulting hug. I wasn’t quite sure why I was there, though, to be honest. Although I had enjoyed the plays I had (relatively) recently seen him perform in – Henry IV, part I, Henry IV, part II, and Death of a Salesman – I was not a major fan of Antony Sher; and his presence on stage is therefore usually not enough to pull me in.

This is not why I had avoided his King Lear, though: that was because Michael Pennington’s incredible inhabitation of the role had ‘spoiled’ the play for me: in much the same way as Pippa Nixon’s perfection (in 2013, goodness me!) had ‘ruined’ the RSC’s current production of As You Like It. Which is one reason why a short run of a new two-hander was the occasion for my re-entry into the RSC’s hallowed headquarters – particularly to be enfolded in the arms of my favourite theatre, the Swan – rather than one of Will’s very, very best, in the main auditorium.

With being away from the place for so long, physically and mentally – I had bought too many tickets in the interim, only to cancel them again and again at the last moment because of my health… – I wasn’t aware that Kunene and the King (directed by Janice Honeyman) even existed. However, Michael Billington’s perspicacious review lit a spark deep inside me. Although it would take a while for the kindling to fully ignite.