Michener Center

Sarah Saltwick’s adaption of Nathaniel Hawthorne’s “The Scarlet Letter” will be performed at the B. Iden Payne Theater beginning next week.

Photo Credit: Taylor Barron | Daily Texan Staff

Sarah Saltwick may be the next Nathaniel Hawthorne.

With careful prose, redeemable characters and lines filled with heartbreak and raw emotion, Saltwick’s adaption of “The Scarlet Letter” embodies the difficulty of Hawthorne’s 1850 American classic, regardless of how much of the story she changed.

Saltwick, a third year playwriting and fiction MFA candidate at the Michener Center for Writers, was an actress before she was a writer. Saltwick began performing in preschool and acted in many roles as mothers, aunts and maids. In her experience, actresses had two options: to play the mother or to play the love interest.

When the University of Texas’ Department of Theatre & Dance approached Saltwick and Steven Wilson, MFA directing candidate, about creating a play to serve the large population of undergraduate actresses, the two decided to rework “The Scarlet Letter.”

“It wasn’t all about shame and sadness,” Saltwick said. “What I refused to do was have 10 mopey girls in black dresses speaking about sin in impossible-to-understand accents.”

Instead, Saltwick wanted to bring Hester Prynne, a woman condemmed by her Puritan neighbors for refusing to name the father of her illegitimate child, to life within a period-appropriate adaptation. Saltwick chose to keep Hester in the same colonial America that Hawthorne built, but she expanded the scene to show how Hester’s adultery affected her community. To do so, Saltwick created new characters, condensed the story and added entirely new scenes.

“I think Hawthorne loves Hester, but he’s afraid of her,” Saltwick said, “She is dangerous in this world in the way she resists apologizing for what she’s done by saying, ‘You’re right, it was a sin. I will stand this punishment, but it’s not going to break me.’”

Unlike Hawthorne, Saltwick isn’t afraid of Hester. Throughout the course of the play she highlights the flaws in Hawthorne’s heroine. Hester acts selfishly and she lies to her daughter, but she stands firmly by her personal convictions.

“My language is not Hawthorne’s language. It’s more simple, dramatic,” Saltwick said. “People can get away with saying some pretty beautiful things.”

Saltwick’s writing allows Sarah Konkel, the UT senior who plays Hester, to fully embody her character.

“[Saltwick] did a good job of capturing her spirit,” Konkel said. “I love the way she writes because it is so conversational, but very beautiful.”

Despite the play’s early American time period, contemporary audiences can relate to the strain, judgment and emotional exhaustion that Hester feels. 

“What [Saltwick] has created is a version of this book that can be activated in a theatrical way,” Wilson, the director of the play, said. “It celebrates the story and captures the spirit of the novel while not feeling the pressure to be absolutely, 100 percent faithful.”

Within this leniency, Saltwick creates a script that is strikingly poignant without distracting from the events that drive the plot of the play. In her three years at the Michener Center, Saltwick learned that she could employ a strong plot and action without losing the imagery of her prose.

“I spent a lot of time thinking about place and home and love, which are all things I still care about. But I don’t have a fear of making stuff happen on stage,” Saltwick said.

The power of the play, according to Saltwick, is the danger represented by the strong and evocative Hester: “the idea of losing each other to another way of life.”

For Saltwick, Hester becomes not only a driving agent of the plot, but a whisperer of life’s larger truths.

“I think we are meant for love,” Hester says in Act 2. “The laws give us direction, and God gives us meaning, but we can give love. Like nothing else on earth. We are empty without love. The act fills us.”

This simple, brutal prose carries “The Scarlet Letter,” and the undergraduate actors do not disappoint in their delivery of even the harshest and most difficult lines. The set is rustic and interactive, and the casting is well-done, but what makes the play hard, evocative and lonely are the words.

“I want the play to have a life after UT,” Saltwick said. 

In context, she meant that she wants the play to be published and to live on in other theaters with different casts. With lines like “She’ll grow like a weed into something dangerous,” and “She is my happiness, my torture,” Saltwick’s version of “The Scarlet Letter” does more than just entertain. It lingers.

The Scarlet Letter runs through December 7 in the B. Iden Payne Theatre.

Printed on Monday, November 19, 2012 as: Adaptation delivers raw emotion

English professor and renowned American poet Dean Young was a finalist for the Pulitzer Prize for Poetry in 2005, and was named the William Livingston Chair of Poetry in 2008. YoungÂ’s poems, which draw from surrealist tradition, have been featured in numerous anthologies.

Photo Credit: Thomas Allison | Daily Texan Staff

Editor’s note: This is part of a bi-weekly series showcasing the many fascinating members of UT’s faculty.

Dean Young is an influential, nationally recognized poet and the William Livingston Chair of poetry at Michener Center for Writers here at UT. He is also a professor in the English department.

If Young’s poems were animals, they would be the most improbable crossbreeds you can imagine. Exotic yet familiar, wide but narrow, friendly, terrifying and beyond taxonomy, his poems are like house mice bred with dinosaurs. Whichever way you approach them, you can expect to be surprised. Young crafts collages of illogic and seeming contradictions that transcend the sum of their parts and challenge how we classify our world. “Do you think the dictionary ever says to itself/ ‘I’ve got these words that mean completely/ different things inside myself and it’s tearing me apart?’” he asks in one poem.

Young is the author of 10 books of poetry, including “Elegy on a Toy Piano,” a finalist for the Pulitzer Prize. Last year, he received a life-saving heart transplant after living for over a decade with a degenerative heart condition. His most recent book of poetry, “Fall Higher,” was written before the transplant and was published last April.

Daily Texan: Why do you write poetry?
Dean Young: Because I started writing it when I first learned how to write and didn’t stop. It doesn’t seem to be a question that poses itself to me. The question would be “why not?” At this point in my life, I’ve been doing it for so long that I write poetry the same way I exercise or do other things in my life that I’d feel incomplete without doing.

DT: What appeals to you about poetry?
The self-contained quality to it. I like ends a lot and poetry ends all time. It’s defining characteristic is that it occurs in lines, and the defining characteristics of a line is that it ends.

DT: Why does it appeal to you that poetry has so many ends?
This sounds overblown, but it is about confronting our mortality and the realization that all pleasures have duration and all agonies too. Most poetry is preoccupied with the limited nature of our current existence. Poetry is concise, and its brevity suggests that we don’t have time to waste. It’s not bad or good, but it does take some confronting because we live in a culture where death is primarily relegated to the periphery, unless it’s made into a kind of
cartoonish entertainment.

DT: You had a heart transplant a year ago, and your heart condition was something you were aware of for a long time before the transplant. Has that influenced your fascination with limits?
Absolutely. My father died when he was young from a bad heart and I was always aware of it as a possibility. Then, when I got diagnosed, it was irrefutable. I lived for about 13 years with a pretty clear idea of how I was going to die. I thought, ‘Okay, my heart’s going to give out and I’m going to die,’ and I went through the transplant, but it turns out I didn’t die that way. And it’s weird because I sort of had it checked off. Now, I’m sort of clueless. The one vague certainty that I had is gone. That’s not going to kill me.

DT: Your poems deal with themes of randomness and chaos. These themes don’t necessarily seem positive, but in your poetry they are comforting in a way. Is that intentional?
I can see how this sense that everything is going every which way could cause panic. But, to some extent, I feel like ‘suck it up,’ because that’s the way reality is. If you haven’t had something come along in your life to completely upset all your systems of filing, then it’s going to, and when it does, it will completely destroy you unless you say ‘okay this is part of reality.’ Once you say that, it’s kind of a party. Random particle motion is what got us here, and it’s what’s going to do us in, but it also brings sudden beauty into life. You run into somebody you’ve never met, fall in love and your life is never going to be the same.

DT: What do you learn from teaching poetry?
Teaching brings me in contact with the poetry of the future. It’s taught me to be perpetually open-minded and shown me again and again that I’ll never get to the bottom of everything poetry can do, which makes me happy.

DT: Among people my age, poetry isn’t culturally mainstream. Does that bother you?
It doesn’t bother me. We can whine and moan about the lack of attention paid to poetry, but there is still an enormous amount of people out there writing poetry, and there are an enormous amount of poetry books being published. I think poetry’s in an incredibly good position right now in our culture.

Printed on Wednesday, February 8, 2012 as: UT professor discusses influences on his poetry