‘It’s all fiction’

As my new book came together in its revisions, I began to feel some parallels to John Baskin’s 1976 New Burlington: The Life and Death of an American Village, a non-fiction opus based on what was then the new field of oral history.

The village he examined was largely Methodist and Quaker, the latter having come en masse from South Carolina as their rejection of living in a slave-holding countryside. In fact, when they relocated as a Quaker Monthly Meeting, they carried their treasured minute book with them and continued their records in Ohio.

His book became something of a classic and was even excerpted as a popular series in the Dayton Daily News.

While relying heavily on quotations from his sources, he did knit the interviews together with some heavy interpretation on his part. And here I was, becoming an active narrator in the action in my own work.

My book, as it stands, is heavily influenced by what I’ve learned writing fiction, in addition to my lifetime career as a newspaper journalist. I view the result as a story.

More to the point, when Quaking Dover came out, one longtime friend asked me if it was another novel. I bristled, I think, “No! It’s a history! Non-fiction!” While also thinking, “Didn’t you read the description? What did you miss?”

~*~

I am trying to remember the first time I mentioned Baskin’s book, probably in a Quaker circle in another part of the state, and hearing the response, “It’s all fiction.”

Huh? It seemed pretty solid to me, and the asides on Quakers were rather informative for a newcomer, as I still was then.

A decade or so later, visiting family back in Ohio, I ventured off to worship at the New Burlington Quaker church, which had rebuilt out by the highway after the village had been flooded by the U.S. Army Corps of Engineers.

At the close of the service, I was asked why I chose them rather than the more silent Friends in nearby Waynesville. Well, I had worshipped in that historic meetinghouse years earlier but, as I replied, I enjoyed visiting other branches of the Quaker world. And then I added, “Besides, I have the book.”

A moment of awkward silence struck the circle around me before the oldest person, a woman perhaps in her early 90s, softly pronounced, “It’s all fiction.” Obviously, they all knew what I meant by “the book.”

Oh? I was in no place to argue and accepted her verdict as literary criticism. In some ways, I took it as advice, not that anyone knew I, too, was a writer. Those of us in the news biz were already treading on thin ice in too many ways.

Still, as I retold the encounter to a reliable bud, he inhaled sharply and noted, “That’s strange. It’s the same thing Aunt Cecille said. Her words, ‘It’s all fiction.’”

Well, she did live in a town only a few miles up the road, one where the local Friends church had recently petered out. She, too, had Quaker roots and community creds.

~*~

As a journalist, I can relay one fine reporter’s observation that he knew he was on course with a controversial issue when he found both sides of the story were upset. Not that I want to go there. Still, I do know that we humans have a hard time accepting our own shortcomings and follies and that we view events through our own lenses.

I should add that Quakers, as a whole, write a lot. It’s a crowded field.

How crowded? The primary Quaker history journal takes this stand: if a book hasn’t been vetted by a peer review panel of historians, it’s taking a pass.

As they did on mine.

 

These events leave me feeling confirmed as an author

Being invited to speak about my book, either as a solo outing or as part of a panel, is something quite new to me.

It’s distinctly different from being the featured poet at a café reading or even having a chapbook in hand for sale.

Since Quaking Dover is a factual history, the narrative ties into much more definable readerships than my novels have. I’m even able to present PowerPoint slideshows of people and places appearing in the story, and then be surprised afterward to meet descendants the families or the current residents of houses I’ve touched on.

Having a presentation be recorded and made available on YouTube, as happened through the Whittier Birthplace Museum in Massachusetts, is personally thrilling.

My previous YouTube appearance was private, for a selected audience, largely a sequence of appropriate Scripture and related images. It even had an original, emotionally moving musical score from a talented collaborator.

My face wasn’t visible there, by the way. Yes, the invisible writer as witness.

Alas, it’s gone and I do wish I had a copy.

Remember, writing is a solitary activity. Rarely do we get feedback from our finished efforts. Are we writers simply navel-gazing or do we somehow reach others, especially one on one? Have we actually been wasting our time?

In blogging, I’ll assume you, too, are a writer and know what this means.

Humbly yours, all the more.

It’s always a fun time

For those of you living in New Hampshire or southern Maine, here’s an invitation to Dover Friends’ annual Arts & Letters event now rescheduled for 2 pm Saturday, March 18.

It’s one way to sample the local Quaker community as members of all ages display their artistic talents, from painting, drawing, weaving, and photography to original music, poetry, and fiction, perhaps even dance or furniture-making.

The mix each year is different. I remember our amazement when we first saw the museum-quality quilts a newly retired English teacher had begun creating as well as the array of Sculpey figures one of the kids produced. The afternoon even includes a potluck, billed as culinary arts.

The historic meetinghouse is at 141 Central Avenue, just south of the downtown.

Cheers!

What’s off with Microsoft’s log-in algorithm?

You know, the changing photo that keeps appearing when you log in. The calculations have no idea, really, of what I like or don’t. My sensibilities are far more complicated than its simple “mountains” or “seashores” calculus.

In one photo, for instance, a single bright-colored backpack at the bottom of the scene threw off the entire wilderness message. It looked like trash. That sort of thing. I didn’t like the particular photo for that reason, but I loved the bigger landscape.

It’s like living with a painting and one day you finally observe something that becomes a flaw. You loved it up to that point. And then?

It’s a binary switch rather than a scale of one-to-ten.

For now, I’m finding some comfort in that, sensing they still aren’t outsmarting me.

 

Beware of the snakes

WALDEN POND. IT’S DEEP WINTER, with a good two feet of snow on the ground. My thoughts turn to logistics: getting there from the town, what books and projects I’ll be taking, what food and cooking gear (if any) I should pack.

The prospect is liberating and exciting – an invitation to get down to some Real Work.

 

I’VE BEEN OFF SOMEWHERE and am returning with a friend as we come over the crest of a hill and look down to a very green meadow. A figure runs across the field. A moose? Or a horse? But a very full tail follows, and then I realize it’s a giant squirrel.

No wonder I awaken!

 

WAS SOMEHOW VISITING BROWN, a small group somehow in a social setting when we “went out back” to see is latest work. (This is where the dream picks up:) Not at his house and farm in Berwick, but rather beside the sea or a large gray lake. It’s a former industrial site, and he leads us into a large half-shell, somewhat like the Hatch Shell along the Charles except this has large piles of dirt inside, the kind that have been moved about by bulldozers. The shell is surfaced in rough concrete, and this is what he’s been painting on. Another person tells me Brown’s been doing very little of the painting these days but has others, including Mennonites, as apprentices who are doing much of the work he envisions. It’s largely gray, with some red and yellow. Brown tells me he’ll never be finished with this project and has no intention to.

We step back and the structure is no longer open to the air but rather goes back like a large Quonset hut or airplane hangar with office cubicles along the floor. This time, much of the surface is salmon or pinkish. What’s happening overhead is quite incredible, a contemporary Sistine Chapel. I retreat to a far corner to sit down to take it all in. Brown approves of my move with a nod or a wink.

In the final tableau, I’m outside in open ponderosa and see three typewriters in the sagebrush or palmetto. Warily, watching for rattlesnakes, I step out to get one in order to finish some project we’re engaged in. That’s when I notice the IBM Selectric II in a taupe shade. Before I can retrieve it, a stiletto-heeled secretary in black hosiery approaches to say, in effect, keep my hands off. As I retreat, something drops from a tree onto my neck and shoulders. I’m trying to brush the snake off as I awaken.

Not that I see anyone using theirs

I always wondered about the practicality of outdoor window shutters, which were a staple on old houses, even back in the Midwest.

Now that I’m living along a coast that for months has had small-craft or gale warnings in our forecasts seemingly daily, the appendages make a lot more sense. They’re not just decorative. Objects blow about like projectiles, for sure, but more than that, a layer that breaks the icy wind before it slams up against the glass panes and worms through the sash into the house definitely adds some relief.

Of course, our Cape has only one remaining shutter, and it’s too small for the window beside it. Purely decorative, it’s nailed securely to the siding. Hopefully, it provides some extra insulation there.