IN THE SHADOW OF THE BLACK SPREAD EAGLE ON LUDGATE HILL

Sometimes in exploring a niche of history, you come across an unexpected incidental detail that significantly alters your previous perception. For example, many of the earliest Quaker tracts and books bear the imprint of Giles Calvert, a publisher and bookseller at the Black Spread Eagle on Ludgate Hill near St. Paul Cathedral in London.

So extensive is his Quaker role that I’d assumed Calvert (1612-1663) was a member of the Society of Friends. For one thing, he was the elder brother of Martha Simmonds, an early Quaker convert and a central character in the notorious Bristol Controversy of 1656 that led to the blasphemy trial and conviction in Parliament of a leading Friends’ minister, James Nayler. The connection intensifies when you discover that two years earlier she had joined with Friends and the next year married Thomas Simmonds, who (according to one account) took over the shop from Calvert, by then the leading publisher of Quaker literature. And Martha Simmonds (1624-1665) was hardly shy about public protest and witness on behalf of her faith. She’s a controversial figure in her own right as she challenged much of the male leadership of the emerging Quaker movement.

One earlier connection I’d come across was Calvert’s role as publisher of Gerrard Winstanley’s True Leveller (or Digger) writings from 1648 to 1652, the year the Quaker works begin appearing. Winstanley was a radical religious and political thinker and leader, one who later had an influential role among Friends even if he drifted away for a while – his life leaves many questions and holes for the curious.

Still, it’s enough to strengthen Calvert’s position as a Quaker vanguard.

In my recent reading of Douglas Gwyn’s Seekers Found: Atonement in Early Quaker Experience (Pendle Hill Books, 2000), a broader portrait emerges.

Gwyn makes a critical connection that begins with Parliament’s attempt to impose Presbyterianism on the Church of England. “One factor that doomed the project to failure was the suspension of censorship of the press,” itself a parallel to the suspension of mandatory church attendance amid the waves of civil war. “Religious ideas that before 1642 had circulated only below the surface, if at all, now reeled off presses in exponentially expanding numbers. Propaganda pieces, ranging from one-sheet ‘broadsides’ to tomes hundreds of pages long were printed and sold at low cost.”

This had my mind leaping backward to the sense that many underground religious and spiritual streams had somehow survived in Britain for centuries, in part because of valiant efforts that kept the Roman Catholic Inquisition at bay. Queen Mother Joan of Kent’s influence at the trial of John Wycliffe and the Lollards in 1378 remains a pivotal moment in the history of freedom of religion. We were a long way from tolerance, but it was far superior to the terrors of the papal machine.

Gwyn, though, introduces Calvert at this later point beginning in 1642, “One of the most notorious publishers of dissenting literature … among the first publishers in England who was not also a printer.” (That, in itself, is a fascinating detail. I had assumed he handset the type himself, placed the paper and ink of the flat press, and collated and bound the pages. Instead, he served as a go-between.) “Over the course of his career,” which began in 1643, “he published more than 600 of the most radical tracts and books written in England during that period. … Calvert was questioned, fined, and imprisoned briefly on various occasions for his publishing activities, but he was never really silenced. Once the door was opened for a free press, it was never to be effectively closed again.”

It was enough to send me back to Christopher Hill’s classic The World Turned Upside Down (Penguin, 1975), where Calvert gets two mentions, the first for his Quaker service. In the other, a longer overview, Hill observes, “The printer Giles Calvert’s shop perhaps came the closest to uniting the radicals in spite of themselves – ‘that forge of the devil from whence so many blasphemous, lying scandalous pamphlets for many years past have spread over the land,'” as one critic put it. Hill then notes that A.L. Morton, the leading scholar on the Ranter movement, “stresses the importance of Calvert as a unifying force.” Hill has Calvert working as late as 1662 “still inciting the publication of seditious literature, and after his death in 1663 his widow continued his policy.” Unclear is whether Calvert was still with the Black Spread Eagle or working more independently; either way, he was a force who’s largely unknown today.

It’s heady stuff, of course. Here we have a champion in the history of freedom of the press and the circulation of revolutionary ideas itself. At the moment, Giles Calvert gets a single sentence as his Wikipedia entry – and that notes his publication of John Saltmarsh, another important influence on Quaker thought, as Gwyn delineates.

As a writer and editor, I am as fascinated by the idea of a bookstore that also showcases its own line of books and pamphlets as I am by the existence of a bold publisher of revolution, political, spiritual, or even literary. Think of City Lights Books in San Francisco in our own time, with its line of poetry from the Beat and Hippie years. No doubt there are many others over the centuries.

I wonder, too, about the bookstore itself. Was it more like a newsstand, with the latest blast hot-off-the-press as must-have material? (That has me thinking of record stores back in the Beatles era!) Think, too, of the audience hungry for the most recent release – in contrast to our surfeit of information today. What were the discussions like, too, in deciding whether to publish a piece or edit it or, perhaps, in gathering customers around a table to debate the merits of the most current issues? Who frequented the shop, for that matter?

Imagine, if you will, the movie version. I want the key characters to be ink-stained, for starters, and maybe tobacco smokers.

Actually, I’m beginning to wonder. Would this be more like a porn shop? At least before the Internet took over? Customers entering surreptitiously, hoping not to be seen? And then slip away again?

Well, Quaker was a term of derision. As well as one of scandal. Bear it as we may.

SIMPLE LYRICS

Charles Ives, supporting a childhood memory
with a cosmos of commotion
how holy!

me? I’m an American, through and through
who wonders just what it means
to be bred in the USA . one, that is, without
the increasingly militaristic outlook

one also passionate about
symphonic and operatic repertoires
and steeped in the history of painting

the apologetic place of American artists
(especially in classical music).
only rock, country music, and the movies
seem exempt
and ever so profitable, as an industry

Poem copyright 2016 by Jnana Hodson
To see the full set, click here.

CECILIA AND NADINE

bright brown irises
maybe a little too wide-eyed (available)
hair golden heartbreak. still

Duquesne University and Uniontown, Pennsylvania,
were places he’d been, he told her
requesting the next dance

there’s more than lightness afoot
driving these distances. Attraction, see,
flashes into conflict

“Quakers. They believe in Jesus, don’t they?” is how
she starts revealing she’s Jewish, from New York City,
but Ohio Boy steps back instead of forward, and misses

a third muses, “Relationships are weird. Always weird,”
while wondering if she’s sufficiently brainy to stay him
or just what he might be lacking

all the same, they cover their aces and wild cards,
map their terrain, and
reach out in the music for someone

Poem copyright 2016 by Jnana Hodson
To see the full set,
click here.

JUST HOW BIG IS THAT TOWN WITH THE MILLS?

When I began drafting Big Inca versus a New Pony Express Rider, I was coming off a two-year stint that had me traveling across the Northeast, including the Atlantic Seaboard from Maine through Virginia. I hunkered down in Baltimore to concentrate on a handful of major writing projects in a very intense year of self-imposed sabbatical. (No university support, if you were wondering.)

While Big Inca marked a sharp departure from my other works, moving into dark subconscious realms and mysterious meanderings, it did incorporate castoffs from some of the other projects. The prompt, though, was a vague dream of restoring landmark mills beside a river, a project that could have happened just about anywhere in the region I’d been traveling.

We think of them as textile mills, and many of them were. But the water power could be employed for just about any kind of manufacturing, as I’ve since learned, from machine-making itself to shoes to clothespins to locomotives, as well as the grain and sawmill operations I’d been introduced to on our trips to historic sites in my childhood, starting with the overshot wheel and grindstones in Carillon Park in Dayton and the reconstructed Spring Mill village in Indiana.

As a youth, I’d also owned a gorgeous volume the duPont company had published to celebrate its history, and my favorite parts were the illustrations of its early mills and supporting waterways and lands in Delaware.

So there was already a degree of romance in my thinking about the use of old-fashioned waterpower.

Then, in my first job after college, I was introduced to the ruins of cigar factories beside a dam in the Susquehanna River, a tangled patch I returned to frequently, as I describe in my set of poems, Susquehanna. Just how would the mills have looked, anyway? And how would they have shaped the adjacent neighborhood, a setting reflected in Riverside, another of my poetry collections?

My more recent employment had me calling on places like Fall River, Massachusetts, with its array of vacant stone mills, as well as towns incorporating the more common red brick versions, large and small.

Add to that mention of the entrepreneurial impact of the many mills that once stood along the Jones Falls in Baltimore itself, before the freeway wound through the sites, and I was quickly writing.

Since releasing the novel, though, I’ve been wondering about scale. Just how big a town are we dealing with? And, for that matter, how big a mill yard?

In the back of my head I’d imagined something along the lines of Binghamton, New York, a city of roughly 50,000 – large enough to move about in inconspicuously but not too big to be, well, anywhere in the corporate radar these days. Or, more accurately, the recent past when the action takes place.

That’s had me looking more closely at old mill towns, of course, and asking if this one or that could be the right setting. Security, by the way, adds another consideration – I wouldn’t want the novel’s mills sitting right downtown, as they do where I now live or in several of the neighboring towns. Somersworth, to the north, has train tracks separating its old mills from the rest of the town, and Binghamton had a freeway.

A smaller town, in contrast, might simply have too many nosy neighbors who would insist on knowing everything about a newcomer like Bill, and that wouldn’t do. Still, there are some beautiful sites for imagining as you move about.

WHATEVER THE NEXT STAGE

the Late Quartets
meaning, always, Beethoven
always attended most intensely
late at night
alone

something here liberated from audience
or sound itself
or even emotion or intellect, solely
some pure essence
released within four players’ labor

~*~

the labor has me thinking
of Stephen Foster, his two strands of work
the minstrel songs that provided
his income and reputation
but his parlor art songs from his depth

yes, I’m far more compartmentalized

journalism, poetry, fiction, religion, et al

~*~

imagining my own funeral
a performance of Schubert’s string quintet
or a hymn-sing
if not my Quaker silence with vocal
messages therein
whatever the next stage

Poem copyright 2016 by Jnana Hodson
To see the full set, click here.

WHO INVITED INCA INTO MY NARRATIVE, ANYWAY?

Why Inca, anyway? For starters, when it came to conceiving my novel Big Inca versus a New Pony Express Rider, I seem to recall an attraction to the wordplay, Inca for Inc., befitting a story about corporate intrigue.

Maybe there was even a sense of llama and alpaca wool as raw materials for the abandoned waterpower textile mills that instead become the front for covert business activity.

I was already aware of how much indigenous lore remained lost or buried in the American inheritance and wondered how much more might be festering somewhere. Even before issues of illegal immigration entered the picture, I was curious about the alternatives lurking in the imagined jungles of Latin America. Maya and Aztec, for example, also had rich imperial cultures that contrasted with the Spanish invaders.

The novel takes on its own meandering along the edges of consciousness and subconscious currents. Just what are we doing in our careers, anyway, at least in the face of ultimate existential purpose? And what is the allure of corporate politics, strategy, and gamesmanship, at least in the higher offices? Bill may be out in the sticks, but he is a puppet of sorts for the Boss. A player. Or maybe just his apprentice. Either way, he’s green and supple.

Here we encounter, however dimly, a darkness conquered by another darkness, perhaps crueler under its Christian veneer. Yet a New World Native undercurrent runs counter the peasantry of Old Europe, and pagan influences infuse both sides in the millpond of Bill’s labors. As for the company paying his Bill’s bills? It’s at least as mysterious as the Inca itself.

FINGERINGS

many classical musicians regard a score
more through their hands (as instrumentalists)
or the eye, according to the sheet (as composers)
or even the mouth (as singers)
than through the ear, much less the heart.

in that light, Beethoven’s mastery in deafness
should appear no miracle

unlike Charles Ives, off-limits
when the circle needed completion
– without the ripple of applause or engagement
or critical test of application –
only the stone-dead silence of scorn or indifference

let us touch, then, releasing these birds
from rows of ink on a page
as if this were another spring morning

Poem copyright 2016 by Jnana Hodson
To see the full set, click here.

A FEW NOTES ABOUT READING MUSIC

On one of her first nights at the helm, our new director asked the choir, “Do you read music? Raise your hand if you do.”

Well, ability to read a score is not one of the requirements for joining and we have no auditions, so it was a fair question.

To my surprise, my hand stayed down. Just what did Megan Henderson mean by “read music”? Hear it in my head, the way a composer, conductor, or professional performer would? Not me!

Immediately identify a note on the staff? Well, I studied violin, but that was in the treble clef and I sing in the bass clef and that causes a delay when I have to translate what I see as G to a the B it really is before I pipe up.

Sight read? Well, sometimes yes. For many of the notes on the page, I know how they feel or fit in my throat and on my tongue.

And then there’s the matter of keeping time. Sometimes I’m a stickler for the beat, but sometimes I miss. Just saying.

It helps being in a good section, surrounded by strong musicians. But then it’s also fun when we sing mixed, surrounded by the other parts instead.

So do I read music? I really should have raised my hand – halfway.

MY CALL

for dancing, I want fiddles or flutes
more than saxophones or electric basses
for the measure

how true when they say accomplished waltz
extends either romance or seduction

moving either toward shelter or some dangerous
fascination, all the same

when we link together in a line or a circle
we will pivot and fly . take me away, then

with equipoise into the periphery

Poem copyright 2016 by Jnana Hodson
To see the full set, click here.

THE MYSTERY OF MOZART

In the annuals of genius, today marks a special observation, the birth of Wolfgang Amadeus Mozart in 1756.

The traditional biography reads something like an extended fairy tale, starting with the child prodigy who charms European royalty in the flowering of the Enlightenment. Yes, there are emotional conflicts with his taskmaster father, who nevertheless deserves much of the credit for those early successes as a performer, improviser, and composer. That doesn’t stop the son who dashes off masterpiece after masterpiece in lively company or en route on stagecoaches rather than in deep solitude with a keyboard. Later tales of poverty and domestic desperation, however, mask his inability to handle money or patrons. You could say he was a tad spoiled but, oh my, unbelievably talented. Besides, it turns out he was the second-highest paid musician in the world, after Franz Joseph Haydn, who lived in conditions offering much less freedom. You could also say that in his prime, nobody wrote with more spontaneity, perfection, or elegance. So much for the standard version.

The fact is that Mozart set a standard that, on its own terms, could not be matched. much less surpassed. In the world of opera, his are among the very best, even without considering how he lifted the genre to new heights. As an opera composer alone, he would have been among the top handful. He essentially created the piano concerto. And the symphonies, alongside Haydn’s, are models of an evolution leading to a final culmination rivaled only by Haydn’s two London series.

I must confess that my deep passion for classical music began in fifth grade, age 10 or 11, with an encounter with the 29th symphony, in A major. Its infectious, joyous outburst, order, and underlying idealism struck a deep chord in my young soul, spurring a hunger for much more, which I found in his work and those of other symphonic and, later, operatic masters.

The prolific legacy Mozart left at his death at age 35 is prodigious, even before we get to the chamber music, choral compositions, or instrumental offerings.

With him, sooner or later, we come face to face with the tragedy of a life cut short, in the fullest blooming of genius – like his fellow Aquarians and composers Schubert and Mendelssohn, especially. The question then turns on the what-if of whether he could have advanced in the artistic challenge of Beethoven and a torn-apart social order to ever greater heights or whether he would have failed to adapt and, thus, withered.

Which leads us to the biggest mystery regarding Mozart. What if he had lived a longer life, say one as long as Beethoven’s? There’s the inevitable comparison, Beethoven. Not Bach, curiously – maybe it’s the matter of those symphonies. Put another way, had Beethoven died at the age of Mozart, his reputation would have been as a second-tier composer, one resting largely on 23 piano sonatas, culminating in the “Appassionata,” plus three classical-style piano concertos and three symphonies – including what would have remained the enigmatic “Eroica,” one that would likely not make much historical sense without the Fifth, Seventh, and Ninth for perspective. There wouldn’t even be his tortured venture into opera. Oh yes, we’d also have the six string quartets, Opus 18, in their homage to Haydn. Had he died at 35, Beethoven would have not been regarded in the same league as Mozart or, for that matter, Bach. I was about to add Brahms and Dvorak, but hesitate since they were so beholden to Beethoven’s challenge and model.

Within the Mozart-Beethoven dichotomy is another deeply intriguing consideration. The conventional interpretation is that Mozart would not have adapted to the artistic and social revolutions ahead, that he had simply gone as far as anyone could in what we call the Classical period and its dimensions or that he would have been baffled and outmoded by the changes to come. More and more, though, what I hear in the last four symphonies and the unfinished requiem suggests something quite different. Mozart was yearning for wider horizons and expressive possibilities. Yes, we have a surfeit of his work as it is, how can we truly desire more when there’s so much already, but what may be lacking is that singular, definitive great gesture along the lines of Beethoven’s Missa Solemnis or late quartets or late piano sonatas or even the Choral Symphony’s final ecstatic outburst or perhaps Bach’s Chaconne from the Second Partita for solo violin.

Alas. Remind me of that when I’m immersed in one of Mozart’s extraordinary opera arias or a slow movement from a piano concerto.

I could recast the consideration, then, into a question of whether Mozart had moved to Prague, which adored him, rather than stay in Vienna, or even on to London, which had so embraced Handel and would later welcome Haydn. Suppose Mozart had lived another decade – or three or four – in fresh, more supportive surroundings? We’re back to genius and its nurture.

In the end, we have what we have, filled with delight and such promise. Let’s see what we choose to play today in that honor.