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SUNSHINE ‘89 David O'connor View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of New Mexico University of New Mexico UNM Digital Repository English Language and Literature ETDs Electronic Theses and Dissertations Summer 7-28-2018 SUNSHINE ‘89 David O'Connor Follow this and additional works at: https://digitalrepository.unm.edu/engl_etds Part of the English Language and Literature Commons, and the Fiction Commons Recommended Citation O'Connor, David. "SUNSHINE ‘89." (2018). https://digitalrepository.unm.edu/engl_etds/234 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in English Language and Literature ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. David O’Connor Candidate English Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Daniel Mueller, Chairperson Sarah Townsend, Andrew Bourelle, Greg Moss, Mark Sundeen i SUNSHINE ‘89 By David O’Connor B.A. English, Dalhousie University, 1990-94 M.A. Performance & Text, Royal Academy of Dramatic Arts/King’s College, 2000-02 Dissertation Submitted for partial fulfillment of the requirements for the degree of: Masters of Fine Arts Creative Writing University of New Mexico, Albuquerque, New Mexico. July 2018 ii SUNSHINE ‘89 By David O’Connor B.A. English, Dalhousie University, 1990-94 M.A. Performance & Text, Royal Academy of Dramatic Arts/King’s College, 2000-02 Dissertation Submitted for partial fulfillment of the requirements for the degree of: Masters of Fine Arts Creative Writing University of New Mexico, Albuquerque, New Mexico. July 2018 Abstract: Sunshine ’89 is a coming-of-age-novel, set in Canada in 1989, this creative work explores the travel of a young adoptee from a remote outpost to the bourgeois center of the country in order to pursue a life in the theatre. What ensues is a mentor-apprentice story exploring art, race, sexuality, performance, aging, dementia, alcoholism, politics, Canada, and other theme. Above all, a page- turner and picaresque romp meant to entertain and challenge. iii SUNSHINE 89 by David Morgan O'Connor iv SUNSHINE ‘89 For my Brother, Jon (16/02/70—10/10/17) who taught me to play and fight. For my Father, who taught me to listen and love. I have thoughts that are fed by the sun: The things which I see Are welcome to me, Welcome every one – William Wordsworth v Dear Reader, Please when possible listen to the songs mentioned as you read. Think about the ones you came to love and why… Thoughts fleet, friends miles away, family held or lost by thread, tooth, needle, nail, and song. Sing with Sunshine… It is a simple song. vi ACKNOWLEDGEMENTS: First and foremost, thanks to my family and loved ones, for continually support and patience. There would be no Sunshine with the support, permission, storytelling, and 25+ years of friendship with Ryan Goode. ACT V is liberally lifted from his early 90s emails. A brave and inspiring man, thinker, father, chef, bon-vivant, and pal. Thanks to: Dan Mueller, for pulling me out of the slush pile, keeping me image- inspired, and, for, every, single, comma. Sarah Townsend, for her ceaseless passion for literature and ideas, and for guiding me through Ulysses with fresh eyes. Andy Bourelle, for proving that a coming-of-age novel can still move hearts. Mark Sundeen, for direct questions, solid advice, and for instilling a new respect for American long-form non-fiction. Greg Moss, for Denver, and keeping the back-burner-playwriting pilot flame alive. Thanks to: The English Department, Dylan, JDS, Steve Benz, Lisa Chavez, Marisa Clark, Feroza, Anita, Chuck, Kyle Fiore, McDuffie, and of course, Shea. Thanks to: my co-hort(s), BMR, my fellow-work-shoppers, Charlie Wormhoudt for the creative cover image, and especially Monica Sanchez, for being the greatest roommate and New Mexican on the planet. Thank you, readers. “… sad to say I must be on my way so buy me beer and whiskey 'cause I'm going far away (far away) I'd like to think of me returning when I can To the greatest little… program and to all see you when we can…” The Pogues vii TABLE OF CONTENTS: PREFACE viii ACT I 1 ACT II 38 ACT III 118 ACT IV 218 ACT V 272 viii PREFACE I believe a work of art should stand on it’s own merit. The code to enjoying or understanding should be woven into the content. When truth is found in fiction, it’s usually between the lines. Truth arrives with a sublime emotional connection mostly residing in subtext, rarely in explanation. Regardless, I’ll try to explain what I tried to do in Sunshine ’89. A WALK THROUGH FIVE ACTS: On the surface, I tried to write a romp. A simple page-turner picaresque, naturally episodic, yet following the bildungsroman structure. I wanted to write a going-down-the-road story, which could arguable be considered a genre in Canada’s Maritimes. Sunshine migrates from working-class fishing village to the bourgeois epicentre of Upper-Canada’s richest arts festival. The Stratford Festival is equivalent to the NHL in Canadian lore, a symbol of “making it” equivalent to Hollywood and wealth. Act I begins with Sunshine gathering his savings, selling his bicycle and a traditional farewell party. I tied to juxtapose the external beauty of the small village with the internal fears of small mindedness. Not judging, and hopefully balancing the homophobia and racism that were more prevalent in that period and location. I tried to show how big dreams provoke ridicule. I tried to show Sunshine’s backstory and motivation to leave. I tried to illustrate outsider-phobia from an insiders point of view. Laced with racist homophobia and protective concern, I hoped to give the impression of an naïve hero setting off against difficult odds.. I introduced Douglas O’Droole and Sunshine’s yearnings. ix Along the TransCanada, Sunshine receives a sexual and racial awakening. As soon as he says good-by to his mother, he is addressed in Urdu and Punjabi which he has never heard before. He is called a Sikh and another man’s son. On the mainland, he is robbed by an 80s prom-couple and exposed to perversion by an old man in a bus station toilet. He is kissed and seduced by a trio of collegiate hippies. He is introduced to feminism (Monique), nationalism (the AWOL-Navy Seal), separatism (Uncle Guy), the apathy and bias of authority (the police), the civil rights movement (Kareem-Aziz), and tragedy (Laid). I hope by laying the scenes side-by-side to build a comic education long before his apprenticeship to long lost cousin begins. In Act III, although outwardly continuing on the bildungsroman-path which originally entailed fitting into society and finding a vocation and maturity, the structure begins to derail. From the late night donut store scene, Sunshine subtly slides into the role of O’Droole’s caretaker, rather than student. He cleans, drives, cooks, and ignores endless insults. This decision was organic and twofold. 1) The structure of their relationship began to mirror King Lear and the Fool so I reinforced that parallel as much as possible. And 2) I wanted to illustrate Canada’s transition from a mono-culture (British-facing, Anglo- protestant, Upper-Canadian) to a culture that consciously pursues strength in multi-cultural inclusion. Of course, this is not a clear-cut transition, and often policy and reality are distant cousins. Personally, I (and my generation, if they cared to notice), lived through a strong and powerful shift in cultural awareness and national identify throughout the 80s and 90s while travelling Canada x extensively.1 I’m proud of this shift, and although not complete, believe it is the only path for toward global peace. Acceptance and open-dialogue are key to national happiness. Subconsciously, a major impetus for choosing 1989 and constructing Sunshine as an optimist was to combat the current global trend of divisive politics. Yet, it is no coincidence that Sunshine leaves Canada for New York on the last page. Contradicting action and belief creates hypocrisy and hopefully three dimensional characters. In Act III, I tried to set the stage for Douglas O’Droole’s demise. Sunshine attends his last great performance as Lear. Douglas is a chronic alcoholic, suffering from early dementia, unbearable egotistic, and only capable of real emotion while performing. The boundary between actor as off-stage personality and onstage artist has evaporated. On another level, I wanted to show O’Droole’s self-awareness as cautionary tale. Outwardly, O’Droole presents a hell-raising bon-vivant, deep down he is aware his professional days are numbered and he cannot continue his carry-on. By denying Sunshine his identity, Douglas wants Sunshine to not follow in his foot-steps, rather become a fully- rounded human and a slave to attention and applause. The letter, the sword, the fire, the self-destruction, I hope turn plot points that illuminate subconscious intentions while turning pages. Douglas is trying to communicate an idea he barely understands himself. 1 My political views are almost identical to the current Prime Minister, poster-boy for inclusion, Justin Trudeau. We attended the same liberal arts college a few years apart, studying under many of the same thinkers. xi Much of Act IV, digests Act III in dialogue. On the surface, the cabin scenes resemble The Karate Kid meets Withnail & I,2 yet underscored by an exchange of roles.
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