Category: Arts & Letters

DESPITE MY USUAL OBJECTIONS

~ Jnana Hodson ~ Leave a comment

I’ve previously posted on my distaste for art that cloyingly celebrates artists as geniuses. Too often, I simply find these to be self-pandering and incestuous, even before we get into the reality that many great artists are seriously defective humans, at least in their interpersonal relationships.

But I’ve found myself swept up in two music-related video encounters that prove the exception to the rule.

The first is Amazon’s 10-episode sweep of Mozart in the Jungle, which despite my initial misgivings of the heavy sex-and-drugs emphasis, moved on into an often surreal criticism of the classical music industry as well as a fantasy of its artistic and life-enhancing possibilities. Equally impressive, its increasingly engaging characters are refreshingly cast warts and all – knocking ’em off their pedestals despite their sycophant handlers. I’m anticipating a second season.

Likewise is Dustin Hoffman’s top-flight directorial debut, the 2012 movie Quartet, set in a retirement home for musicians on a lavish British country estate that is in financial peril. Here, the real drama pivots on issues of aging and relationships sustained or damaged over the decades more than the concert hall or opera house itself. Success, as we see, often comes at a high personal cost.

What I love about both entries is the way the stories can be extended to universal experience rather than setting the musicians apart as an Olympian class. Indeed, the charismatic young conductor of Mozart, Rodrigo, moves repeated to take music to the streets and working-class neighborhoods – his people and roots – with magical turns in the idiosyncratically constructed story.

Here’s to people, then, as they are, no matter their field. And to the down-to-earth insights and discoveries we share along the way.

PRACTICE AS A PLACE IN THE UNIVERSE

~ Jnana Hodson ~ 6 Comments

As I said at the time:

Along the way, the “creative process” is a phrase I’ve come to detest. “Poetic” is another, especially when applied to another art. Whatever “creative” really means or as though the resulting work always occurs in a given sequence. Perhaps “artistic problem-solving” or “artistic exploration” comes closer, except that “artistic” still carries too much excess baggage.

“Process” sounds too much like ritual for my taste. Or a formula, “If you add L to M you’ll end up with an original poem.” Which sounds too much like a dogma or a creed to recite. Like a corridor through a shopping mall. Like a secret code to be disclosed, a joke to be retold in some variation.

For universities, “creative process” can even be seen as the teaching of mistrust and technique. “Absolute skepticism is one of the powers,” Richard Foster writes in Money, Sex & Power. “Absolute skepticism is so pervasive a belief in university life today that it must be considered a spiritual power hostile to an honest search for truth. The task of a university is to pursue truth – all truth – and yet precisely the reverse is happening today.” Creation, however, requires a foundation. Affirmation – a critical embrace of what remains holy. However we want to define that.

In the periodicals, the accepted pieces are typically of a certain length and idiom – that is, they are those lacking the obvious signs of amateurism; they’re idiomatically correct. But do they say anything meaningful, especially to the general reader, much less the populace? Do they speak to others’ conditions? I sense not: at least, seldom my own. (Leading to literary journals read by exclusively by other poets or short story writers, a particularly ticklish incest.)

Meanwhile, when I look at Japanese and Chinese art, the Zen/Chan work jumps out in its freshness from the well-schooled stream of traditional art. Thus, with poetry or musical performance that knows living silence: a whole higher dimension. Necessity for revolution here: transformation. Transfiguration. Transcendence. Transparency, too. On into unending depth.

When I first set forth, I believed to be truly creative, something had to spring out of nowhere – a bolt of lightning accompanying work thoroughly unlike anything before it. Similarly, my girlfriend at the time thought, “Wouldn’t it be great if we had a language all our own?” One unlike anything before it. Slowly, however, I realized how difficult it is to understand what’s said and written in an existing language, with all of its nuances and roots waiting to be fathomed. The fact is, creative acts happen through building on existing tradition, evolving at the edges and frontiers. The artist or scientist or inventor or entrepreneur is indebted to all who have come earlier, and is responsible as well for those who will follow.

Often see those who start out are filled with an experience/awareness they want to share but cannot because of deficiencies in technique. By the time they master technique, they’ve lost the freshness. Yet I most admire those who have acquired technique the hard way: hands-on, original, primitive, perhaps without any of the accepted shortcuts.

~*~

The term I’ve come to love, by the way, is “practice.” The way a doctor or lawyer practices. Or even a football team or a choir. It’s never really done. It’s just a way of living.

WHEN LESS IS MORE: THE STRAVINSKY EDICT

~ Jnana Hodson ~ 2 Comments

One of the dictums I keep returning to as I consider my own practice of art is composer Igor Stravinsky’s observation that limitations make art. Me, who does not write in formal verse structures, not because they’re too limiting, but because I find they typically dilute the language and its impact. In other words, some limitations strengthen one’s imagination and thinking; others lead straight into writer’s block.

Stravinsky’s limitations, I’m certain, are quite different from the blinders I see imposed in much of the so-called Christian art we see. Dogma of any kind simply inhibits our ability to perceive what’s at hand. (Dogma’s not just Christian; anybody want to address “political correctness,” Islamic fundamentalists, or rabid atheist?)

When it comes to working as an artist – and that includes any field, including comedy – I see a division between those who focus on invention versus those seeking discovery of what’s working within or around them — or even epiphany.

We’re talking about people, after all, wherever they are in their lives. Do they bring us escape or encounter? Either route imposes limitations.

For me, the practice of an art is a way of observing and discovering. It’s a laboratory, in essence. No wonder my literary writing often falls under the label of “experimental.”

I suppose many of the self-imposed limitations arise under the heading of style or method. But they’re deeply imbedded, all the same.

WE’LL NAME IT AFTER HER

~ Jnana Hodson ~ Leave a comment

Certain select artists seem to elicit a universal reaction from the public. It’s meant as a compliment, except that it somehow short-circuits itself. For example, a certain select actress is so good at getting into the character she’s portraying – and getting so far away from the way we know she normally looks or speaks – that audience members find themselves saying, “I can’t believe that’s Meryl Streep!”

We can name others, of course. Dustin Hoffman has long earned similar kudos.

Of course, it is intended as the ultimate accolade for a theatrical professional to be so incredibly flexible and insightful, in contrast to the TV or movie star who plays only himself. Think of John Wayne, for instance, who was always John Wayne, no matter the name he was given in the latest round.

The dilemma, of course, is that Meryl and Dustin are still being viewed through two separate perspectives that keep them from being completely merged into the character. We begin viewing their impeccable technique, then, at the cost of being thoroughly enmeshed in the story that’s unfolding. In effect, we become aware of being voyeurs.

I suspect something similar can occur in any of the arts. Classical music, for instance, is too frequently measured on the technical brilliance of a soloist or ensemble at the expense of the emotional and intellectual content of the work being performed. Add your own names for visual arts, literature, pop music, dance, and so on.

For now, we’ll simply call it the Meryl Streep Syndrome.

And, oh my, how really good she is at it.

Care to name others worthy of consideration?

THE IMAGE, AFTER ALL, OF A WRITER

~ Jnana Hodson ~ 1 Comment

As I said at the time:

I suppose every writer will have had an image of what an acclaimed author would look like. Maybe the impression comes down through a tour of one of those great hushed houses of history – Longfellow or Twain or Whittier or James Whitcomb Riley come to mind. Hemingway’s Key West, as well. Or from the book jacket portraits or a magazine interview or critiques. Then there are the novels and movies themselves about literary struggle and the inevitable success. So much for the myth – and myth it is, with the superhuman vision and divine blessing accompanied by the Guide’s intervention and the visitors’ awe. And just where does each of us place ourselves in its manifestations?

My own expectations have changed greatly. When I set forth from college, I still envisioned an urban life – a stylish high-rise or a federal era townhouse or a loft in some variation of Greenwich Village – accompanied by a suitable social circle. Or life in a quaint college town, as an alternative. Within a few years, though, I was willing to swap for a rambling farmhouse in the mountains or on a lake, with my studio set out on a ridge. Shades of Kesey and Kerouac, of course. All the while, however, I was employed full-time and trying to work in serious writing in my off-hours – the evenings and weekends while my colleagues were raising children, picking up overtime (“OT”) to buy the house and car of their dreams, going off to professional ballgames and rock concerts. My frugal sabbatical year changed the vision, and publication of my first novel delivered a hardened sense of reality. Now I realized how many writers with a string of books to their credit still drew their main paycheck elsewhere. When they met for lunch, the discussion was likely centered on mortgages, medical problems, and mutual friends rather than literature. I could still hope that a breakout novel might free me from the newsroom, but there was no guarantee it would suffice. There had to be a crack in the wall, of course, someplace, if I could only find it and break through. None of this has lessened the compulsion to write; if anything, that has intensified as I turned away from the management track and, thanks to Newspaper Guild union membership, could afford to live a modest life away from the basic hours at the office. (No more sixty- and seventy-hour workweeks.)

Now I imagine it intensified in official retirement. At the moment, I do not sense another novel in the works – not with seven or eight still awaiting a publisher, in addition to the volumes of Quaker history and spirituality, the genealogies, and the poems. So there is plenty of revision to do, plus correspondence and submissions. Perhaps there will finally be time to attend conferences and workshops, to travel, to give readings. I see it continuing where I am, in Dover, where I’ve established friends and community. Maybe the loft of the barn will be finished into a year-round space, as I’ve longed dreamed, but even that’s not necessary; now that I can access it via attic stairs, it serves nicely as a three-session rustic retreat with room to spread out papers and manuscripts. Besides, as long as the children are gone, there’s a bit more room in the house.

What has changed is that successful author has become simply an active writer.

~*~

And to that let me add, Thank God for Smashwords! As well as WordPress!

 

AN ARTS AND LETTERS NIGHT IN THE MEETINGHOUSE

~ Jnana Hodson ~ 7 Comments

In many Quaker meetings, we have little idea of what other Friends do outside of the meetinghouse. Maybe it’s simply an unfortunate consequence of contemporary life as we live and work at distances from one another and find our schedules anything but simple.

Bridging that gap remains a challenge, especially if we intend, in the words of George Fox, to “know one another in that which is eternal.”

At Dover Monthly Meeting in New Hampshire, we’ve chanced upon what has become an annual event that other members of the Fellowship of Quaker Artists might want to expand on. For four years now, we’ve had an annual Arts and Letters Night – an opportunity for individuals of all ages to share something of their creative lives with the larger faith community. For us, it’s usually come on a Friday or Saturday night in March – a time when we in snowy winter landscapes are ready to start stirring again. (Hopefully, when the worst of the winter weather is behind us.)

While Dover Meeting is large enough to have a number of serious artists of various stripes within its community, other Friends might find the idea to be something more suitable for Quarterly Meeting or a similar occasion. Like Meeting for Worship itself, each gathering has been unique.

Visual artists bring their work into the meetinghouse beforehand. Much of it goes up behind the facing bench (in the “elders’ gallery”), but other pieces have been displayed on easels or even been passed around the gathered circle. Work has ranged from painting to prints to weaving and textile crafts to photography to furniture-making and sculpture – including one child’s Sculpee creations. One year, an attender ran home to bring back examples of commercial designs she was doing for paying customers – and her work was indeed impressive.

We’ve encouraged these pieces to be kept on display through Meeting for Worship the following First-day, so that everyone may have an opportunity to view them – or even revisit them.

The “letters” part of the equation has had Friends reading publicly from their original poems, short stories, or journals – or from pieces they’ve found especially moving.

We’ve also had music – ranging from one violinist’s performance of the “Meditation” from Thais to original songs – as well as children demonstrating their Tae-Kwon-Do martial arts patterns. Lately, we’ve had videos, including one a Friend had made for Public Television showing another Friend doing sculpture – three decades earlier.

Depending on the length of the readings and performances, there may be time to go around the circle, discussing what inspires and motivates us in the work we pursue. Questions seem to arise spontaneously.

And afterward, we’ve enjoyed repairing to the “culinary arts” – a dessert potluck with tea or coffee.

So it’s one idea. An easy program. One Dover Friend has taken on the responsibility for signing others up – and I’ve the pleasure of being emcee and reading a few of my own poems at the end. We arrange it all through our Ministry and Worship Committee, though it could fit under Pastoral Care as well. (We split our Ministry and Counsel several years ago, to lighten the load.) In any event, do what you want with this proposal. As I said, it’s an easy program.

Invite the public. Invite the news media. And then have fun.

Originally published in Types & Shadows:
Journal of the Fellowship of Quakers in the Arts,
No. 34 Fall 2004/Winter 2005

 

OUT INTO THE WORLD OF READERS

~ Jnana Hodson ~ Leave a comment

Poking around in the barn, as it were (actually, it was several folders in my computer, if you insist on being accurate), I wound up reopening collections of my poetry – and to say I’m astonished by their range, variety, and depth is not a matter of boasting. You’ve already sampled some of that here in my postings, not all of it “finished” work, either.

At the same time, as I survey the literary scene today and its opportunities, I’ve decided to issue as much of it as I can now (while I’m still ticking) rather than continue to seek piecemeal publication.

The upshot has been the resurrection of Thistle/Flinch editions, my personal imprint, as a free bookstore venture here on WordPress. Each month, it’s offering a new work as a PDF file to read on your computer or print out to paper.

In some ways, it’s like tucking a print shop into a corner of the barn. I rather like that image.

As an introduction, may I suggest:

Returning 1Or the rocky shores of my latest:

Winged Death 1

Hope you enjoy what you find there. And as always, here’s to happy reading.

 

 

THERE’S NOTHING EXALTED ABOUT THE ‘WRITERS’ LIFE’

~ Jnana Hodson ~ 1 Comment

Not infrequently, fellow bloggers will begin a post by apologizing about not writing for a spell. The fact they feel they have to apologize bothers me. Nobody’s obligating any of us to produce, and we all have regular lives to pursue, or at least lives we ought to engage. After all, that’s where so much of the grist for writing originates.

Besides, there’s no shortage of good reading in the blogosphere. Take a rest or catch up, and feel good about. Heavens! If we need anything regarding the written word, it’s more conscientious readers … ones who will encourage a wider audience for deserving work, especially.

Somewhat related, and just as disturbing, are the giddy proclamations of joining in the “writers’ life,” as if it’s some carefree club out there free of everyday obligations and cumbers. Maybe they’re envisioning the legendary Dorothy Parker and her Algonquin Round Table, or even the martini named after her, or some other crossroads in literary history, but let me proclaim that’s largely an illusion or mirage, especially in today’s publishing reality.

It’s one thing to be a casual writer and quite another to be a serious practitioner, and for the latter, the only shared lifestyle I’ve seen is a dedication to hard, daily work that includes not just writing but research, reading, and correspondence as well. It’s not glamorous, for sure, and in the current literary scene, you won’t get famous. Not compared to any of those so-called celebrities.

So if you must, then write. And then, because you must, revise repeatedly.

And if you aren’t so obliged, then read … for pleasure as much as anything. And maybe that’s where you’ll really find the “writers’ life,” one you might even share with others over coffee or cocktails.

Now, for me, it’s back to work. And thanks for listening.

FEED THE BEARS NO MORE THAN YOU MUST … AND THAT GOES FOR MOOSE, TOO

~ Jnana Hodson ~ Leave a comment

There are good reasons, of course, for the resemblance between bears and people. But it’s smart to respect the difference.

Still, they have their role in the poems of my In a Heartbeat poetry volume. As do moose and whales.

Here's the cover.
Here’s the cover.

This 35-page echapbook is available free from the Barometric Pressures author series at Kind of a Hurricane Press. The trail to your own copy opens here.

JUST PAGES APART

~ Jnana Hodson ~ 1 Comment

As I said at the time …

For me, writing means watching my own shifting mind while opening myself up to all the living energies around me. It means simplifying, following unexpected leadings and openings, sometimes to dead ends, other times to unanticipated ranges. Some time ago I discovered that to write poetry I had to be sitting in meditation every day. And later, I found once a week would suffice.

If ego is an ever present trap, the practice can introduce repeated humbling. As do the rejection slips.

Detachment: who wrote that! And when? (The surprise of rediscovering your own work five or ten years later. Who wrote that, it is so incredibly fine! Or: Who wrote that piece of tripe? I’m glad it never saw publication. Sometimes only pages apart.)

And then the piece goes its own way: a living organism: readers, editors see it differently from you. What you would cut they love. What you love they see as sore thumb.

What we’re most fond of is likely to be what bothers others the most; what we’re about to toss out in the next revision may be what is most effective with our readers. (Point raised, I believe, by Joyce Carol Oates; true to my experience.)

As critics of others’ work: harshest, at times, on those whose work is most like our own! Too much mirror? Push ourselves as far as we can, coming to a point where we no longer know if a piece is any good or not only that we’ve done everything in its pursuit that we possibly can at this period in our life.

Prophetic practice: light in the wilderness.

The dilemma of arts/responsibility/spirituality brought into focus by looking at something like the Florentine court of the Medici: High Art interwound with brutal political/economic force. (Throw the man out the fourth floor window; nowadays, we have helicopters. How exquisite.)

The dilemma of the news photographer: Should I save the victim and lose the opportunity of taking a great photograph? Or should I be “professional” and observe the world as an outsider? This holds for all artists: at one point are we being selfish in our pursuits? At what point is our solitude essential for the well being of all?

Into solitude / the Silence / the Holy Now, as Thomas Kelley phrased it.

At its core, I write to discover / remember / connect / distill.

In my writing I collect – that is, bring myself back together. More and more, I think on paper. I write to find what is under the words and phrases before me. Go deeper, and then wider. I write to listen. Eventually, I write to sing.