His gorgeous large volume, The Five Books of Moses, leaves the reader agog that the Hebrew Bible wasn’t written in King James English. Fox’s rendering instead sticks close to the original tongue and has a rough-edged, field-research vividness where many of the characters come in unfamiliar names – Ish and Isha for Adam and Eve, for starters. Familiar quotations sometimes differ so sharply that they pass unrecognized.
The translation evokes the sounds of reading the text aloud and hews to puns, word play, word repetition, and alliteration – with detailed notes and footnotes, as needed – that give a sense of what’s been stripped away in conventional translations that polish and soften the action.
It’s my go-to version these days, augmented by others to context to my earlier readings. I wish we had more of the Bible rendered along the lines Fox pursues.
Somewhere in the past I heard about a kind of public journal that wasn’t overtly personal but carefully recorded by devoted individuals. News items, witty thoughts, chance encounters, weather observations might fill them.
Recently, I came across one of those, the Record Book Kept by Daniel C. Osborne (1794-1871), Quaker and Banker. The copy was online at the Friends of Allen County’s website – the highly regarded genealogical center at the public library in Fort Wayne, Indiana.
What especially interests me is that he was a member of Dover Friends Meeting in New Hampshire. His entries provide fresh insights on the life of the congregation and the broader community, both the subjects of my book, Quaking Dover.
A record book, as this one demonstrates, is a collection of random accounts the individual found fascinating or significant. Daniel’s, for instance, has entries on the manufacture of watches in U.S., John Jacob Astor’s will and estate, the popular vote for president 1848, the wife of president Franklin Peirce president-elect, population of the states 1855, English Bible translations list, executions for murders, steam boat accidents and Atlantic Ocean steamers lost, even the royal family of England – most of those notations are on distant events – but they accompany family genealogies and other things closer to home.
Daniel, a son of Marble and Mercy (Nock/Knox) Osborne, operated an iron foundry and was later president of the Strafford Bank, now part of TD Bank. He lived in a Georgian Colonial style home his father had built adjacent to the Quaker meetinghouse, where Daniel continued as an active member while the congregation aged and declined.
These entries note visitors from other locations to Dover Friends Meeting, perhaps all of them in traveling ministry.
Although his penmanship was impeccable, I’m not confident in my ability to decipher it clearly. Even so, I find his records filling in details I’m not sure I’d uncover otherwise. The family genealogies, for instance, have details otherwise lost from the Quaker records when an individual “married out of Meeting,” was “disowned” for other reasons, or moved from the area.
The accounts of deaths, mostly around Dover but sometimes including U.S. presidents, the Marquis de Lafayette, or soldiers at Lexington, Massachusetts, also name neighbors who weren’t Quaker. Perhaps they were even involved in business dealings with him. Notations in the margins point to a surprising number of suicides and, especially, drownings. One 53-year-old man was killed by his own father. Mention of the passing of Quaker evangelist Joseph John Gurney reflects the branch of Friends that Dover followed while that of Congregational minister Lyman Beecher indicates an openness to religious liberalism.
Notations of family marriages point to a much broader interaction of Dover Friends with fellow Quaker families in Rhode Island than I had suspected, including the Wilbur family, prominent in a schism in the yearly meeting, through no blame of their own. I’m guessing it’s because so many attended what’s now the Moses Brown School in Providence.
I wasn’t expecting this tidbit.
Of special interest to me is this notation, “10th mo 22, 1864. Israel Estes of this City, died this day, aged 64 years. He was a lineal descendant of Joseph Estes, who died in Dover Neck in 1626, coming over with Edward Hilton, in the first vessel, and had lands assigned to him as early as 1631.” If true, it would add another person – and, obviously, eventually a wife – to the settlement before the Puritan invasion that multiplied the frontier settlement now known as Dover. As the history stands now, Thomas Roberts was the only other person who arrived with Edward, and they were followed a few years later by brother William Hilton.
It would also place the origin of the surname in America at Dover rather than Massachusetts.
Well, that’s what I get in a first sweep through the record book. I suspect there’s much more to glean.
I’m not big on sci-fi, but the 1975 utopian novel Ecotopia looks rather prescient in that vein considering so much that’s happened in the years since.
The book came out just before I relocated to the Pacific Northwest for what turned out to be four years, but it springs from a recognition of how much the region stands apart from the rest of the nation. It’s a state of mind as much as watersheds and mountain ranges.
As an expression of hippie mindset, I find it more expansive than, say, Zen and the Art of Motorcycle Maintenance.
When my poetic focus shifted in the early ‘90s from nature to romantic love as I had known it, Wakoski hit home for me. Hers were love poems but far from the sunlight, chocolate, and roses “I can’t live without you” stereotype of the hopeless/helpless romantic.
Hers were alive in an admission of the continuing impact of adolescent awakening and desire, no matter your age, and the imagery was unmistakably American with a rock’n’roll plus Hollywood warp.
The title Motorcycle Betrayal Poems captures the energy, and her fine volumes from Black Sparrow Press fill a stretch of a shelf in my library.
She was a kind of guardian angel in a stream of poems I produced in the decade. For a sample, see my Blue Rock ebook collection.
While Tom Wolfe charged that no great novel sprang from the hippie counterculture, a challenge akin to the holy grail of the great American novel, his quest overlooked some fine stories that reflected any of its many dimensions.
Among the gems are the three self-published novels of DeVillers’ Eve Chronicles, grounded in the author’s experiences in moving from her native Wisconsin to the Pacific Northwest, where she spent several years – harsh winters included – with a crew in the rugged mountains of eastern Oregon replanting forests in the wake of clear-cut logging. I had heard of the legendary Hodads in the western part of the state (they took their name from the short-handled pick/spade they used), but DeVillers’ case gently probes the realities of the marginal existence and the varied types of people it attracted. Though this was not the Haight-Ashbury stereotype of the era, it was one of the counterculture’s many flavors. She was definitely back-to-the-earth throughout the span of the books.
Another was the holistic health-care work she took up in what she called a nomadic life before settling down in the Willamette Valley, where the Chronicles continue, again reflecting the conflicts of living out deeply felt values.
She began writing the novels after being diagnosed with MS and drew on her spiral-bound notebooks as source material. (Fortunately, those had survived her many moves.) I love the fact that she’s not inventing stories or characters but distilling what she’s known firsthand. She presents scenes – even aromas and lighting – I’ve experienced, too.
I was going to say her tone is reminiscent of Joni Mitchell but now see the singer was an inspiration. How right, then.
She was working on a manuscript about the health care industry and big money and big politics set in the Covid pandemic, but I don’t know how far she had gotten with it.
Levertov is a poet I began reading the summer after I graduated from college. There was something in her work that seduced me, something along the lines of Brahms and Rilke, as one early advocate said of her. (It was Kenneth Rexroth, whom you’ll meet later in this series.)
What I didn’t see straight-out was the religious underpinning of her work, even in her atheist phase.
I do remember an encounter after a poetry reading in Baltimore, where one audience member approached her and asked how one could sustain a pacifist stance while remaining an atheist. She replied that without faith, the practice was very difficult. A few minutes earlier, I had asked how she had come to become a pacifist and she replied it was through her first lover, who was a Quaker.
A longish poem addressing his father, The Eyes of Blood, and then the poems experimenting with Kabbala are what caught me either in my return to Bloomington or right after, in the Pacific Northwest. Neither example fit the typical 20- to -28-line poems that filled the literary magazines, and each one worked a different vein – one essentially lyrical, the other, bullets.
At the time, I was reading and enjoying a wide range of the San Francisco poetry outpouring – I’ve long felt more at home there than I did with the New Yorkers of the era. Smeltzer’s on my list over some other better-known colleagues, probably because of a feeling of connectedness.
Despite acquiring a handful of his chapbooks, I wasn’t aware of his role in the San Francisco Beat scene, including jazz performances, but that detail has me wanting to go back to revisit his work, once we have room here for what’s currently in storage at the other end of Maine.
What is it that made Bukowski such an unmissable figure in the reading life of young poets and others in the ‘70s and beyond?
You probably wouldn’t want to meet him in person, he seemed to be rather obnoxious, even ugly, even before getting drunk or in a fistfight. He was, from evidence he presents, an abusive lover.
Even so, part of the appeal came, I sense, in his unflinching reflection of life in near-poverty, a world where many of us were also residing. His subjects, though, were everyday poor people, drudging away in marginal jobs when they could, rather than recent college graduates intent on moving on.
Another part of his appeal, though, was his embrace of being a Poet and the ways the daily practice of writing kept saving his miserable life. Black Sparrow Press, with its signature look and literary dedication, was created for his work, and the successful relationship provided a platform that gave exposure to many other poets and novelists – the “bird mob,” as one poet I knew said with outright envy.
Was there even a poetry scene in Los Angeles at the time? The focus in California was almost totally on the Bay Area to the north.
I was especially fond of his short novel, Post Office, but the spare lines of his poetry are unpretentiously masterful and sharp-eyed. He cut the BS, for certain, in a life of squalor that’s a revelation. It’s a life most of us would rather avoid yet somehow touches on our own.
After recently tweaking the cover for my Hometown News novel, I found my eyes zeroing in on another volume and once again questioning its effectiveness.
This design continues at Amazon. While Cassia goes Goth in the plot, I suspect this was a bit extreme for her style.
What’s Left: Within a daughter’s own Greek drama had been especially difficult to develop, as I’ve explained in earlier posts, but ultimately ended up following a girl who lost her father in an avalanche on the other side of the globe when she was only 11. She then continues on into her emotional recovery and growth, rounding out in her mid-30s.
By the time the book appeared in both digital and print-on-demand options at Amazon, the cover image had settled on a photo of a Goth girl.
For technical reasons, she continues at Amazon, while my cover at other digital retailers got updated.
I wanted a better sense of the initial suffering, or even an edginess in her development, but nothing worked perfectly. I am still taken with the daring in her stare at the camera, but is that enough? (I did a post about the earlier covers on December 20, 2019, should you want to explore my archives. I was quite fond of the first cover, the one with its falling egg yoke, but nobody else seemed to get the connection.)
The figure appears more ambiguous in my attempt to do something more in line with some of the Young Adult covers I saw. Ultimately, this was a mistake.
Furthermore, she’s genetically a mix of Greek and American Midwest and a tad on the pudgy side. I hate it when a story follows, say, a brunette but the cover shows an obviously dyed blonde.
Another challenge involved balancing the two words of the title. The second word, “Left,” should have the emphasis, but it’s only half the size of “What’s.” Nothing I tried corrected that. In many of the typefaces I sampled, “Left” simply didn’t read easily, either. It could have been “Lest” or “Lett” on first reading. In making a sales pitch, there’s no time for deciphering the message. “What’s” presented similar challenges in other typefaces.
The text had been difficult enough to nail down in a convincing voice, but the cover was equally problematic – especially finding an appropriate image. How do you summarize all this in a single graphic impression, especially one that works thumbnail size online?
Do note, there’s an ongoing argument about using a facial image on a cover, period. Does it grip a potential reader or does it turn one away? Will it even limit a reader’s impressions of the character at the heart of the book?
At last I had a photo that more or less captures her despair. The title and author presentation never quite matched.
Remember, my budget wasn’t generous enough for a graphic designer, the kind who would create a flowing dust jacket replete with insider clues for a potential reader. I’m not particularly fond of those designs anyway. In general, I think photos pack more punch in a first impression. Just look at magazines at a newsstand. Remember those?
Cassia, or more formally Acacia, goes into mourning after her father’s death and then morphs into Goth dress and appearance through her teenage years, where much of the story develops.
The book doesn’t fall neatly into genres – part of it could be Young Adult, but I’d say the core of it is New Adult and beyond. So how old should she look on the cover?
Finally, in the latest stab at this problem, I decided to run with an image I’d settled on earlier. This time, it would bleed off the cover at both sides for maximum impact. I then decided to run it off the bottom, too. Somehow, that left the photo square, a format her photographer father pursued.
At last, we have this.
My reason for cropping the photo tighter was to give it more depth, putting the focus more fully on the girl and her emotion. I’m now seeing that the rocky background I eliminated had actually suggested another kind of story. No more of that distraction now. An artist might have replace it with her extended family, by the way.
In leaving the top open for author and title, rather than separating those elements with the photo in the middle, she has more presence and gravity.
I’m also glad I stuck with an impulsive decision to not fill in the remaining cover with a background color. A new typeface for me, Yu Gothic Semibold, seemed to work best for the title, though I’m not exactly happy with the single-stroke bar apostrophe. But “Left” carries its own weight in the dance of letters.
Book Antiqua, meanwhile, a fallback for me, does nicely in italic for the author.
That’s all – clean, simple, and somehow daring in its starkness. Without an obvious border, the design declares its independence from paperbook constrictions. It’s also quite contemporary, in a confident way. It even pops out on websites. And there’s no question that it comes together more harmoniously the one it replaces.
This one’s now available on your choice of ebook platforms at Smashwords.com and its affiliated digital retailers. Those outlets include the Apple Store, Barnes & Noble’s Nook, Scribd, and Sony’s Kobo. You may also request the ebook from your local public library.
Although she was known as a poet and story writer, her book that I most value is An Island Garden (published the year she died), with illustrations by Childe Hassam, an Impressionist painter I admire highly. (He hated the term, by the way, and didn’t fit the label neatly, but it gives you an idea.)
The island, in the Isles of Shoals of the shore of Maine and New Hampshire, is a remarkable place, as I found in a visit I posted here on June 14, 2020, “Celia’s garden … on Appledore Island.”
Under her guidance, the hotel her family owned and operated became what can be seen as the nation’s first artists colony every summer, attracting a who’s who of writers, painters, musicians, and more. Her influence can be seen especially in many of New England’s authors of the period.
Reading about her, I’ll confess, can be as pleasurable as reading her work itself.
Jnana's Red Barn 