No, I’m not going swimming nude in a group at a summer lake any more

As I’ve previously mentioned, for much of my adult life, I’ve thought of myself as a retired hippie. Or I’ve simply been called one by others. One of millions and, unlike many, one who’s not embarrassed to admit it, that was a time to remember, no matter how short we’ve fallen from its promise and potential, even though I’m not so sure how much I’d want to go skinny-dipping with others these days or even sleep on the ground or a mattress on the floor.

That said, I’ll also admit that much of my first year after graduation from college in the height of the hippie movement was deep misery and loneliness punctuated by playful discoveries. The writing of Richard Brautigan definitely fits in here.

What’s often overlooked in the era is that the central element was the hippie chick. Plus, personally, I was without one, since mine had moved on and left me stranded. (Oh, misery, oh, woe, I am sounding pathetic, but let’s move ahead.) My novel, Hippie Farm, celebrated her in her many guises, even if you can’t even use the term “chick” anymore without being corrected. At the time, though, it was a badge of honor and invitation – one leading, in this case, to that rundown farmhouse in the mountains outside a college town I definitely restructured in terms of fiction.

A second novel, Hippie Love, retold the same plot line from a different perspective, one more of a what-if optimism. I would love to have heard that story retold from their impressions. Ouch? Were they as lost as I was? One I’ve been in contact with all these years has shared her insights, helpfully, and another, reconnecting much later, barely remembered who I was. And here I had thought she might be The One. Oh, my.

In the light of the publication of What’s Left, those two books were then greatly revised and newly released as a single volume, Pit-a-Pat High Jinks. Compressing the two was a major effort, but ultimately satisfying, at least for me. So much happened personally within that short span.

The inspirations cover quite a cross-section of people, with one becoming a United Way executive, another a U.S. Attorney, yet another one an OBGYN physician. Not that you would have guessed it at the time. As for most of the rest, I have no clue. Some were real losers, likely lost to drugs now. Others, tragically damaged. Being hippie wasn’t always a quest for enlightenment, justice, and equality. And when it was, it was countered by powerfully invested self-interests. Sometimes I’m surprised any of us survived, even before we look at the Vietnam veterans on the other side and their continuing traumas. Not all addicts, by the way, were hippies.

Flash ahead, then, and I don’t see youths today finding community anywhere, much less a shared cause. This is supposed to be an improvement?

Contrary to many people who lived through the era, I saw much that happened needs to be remembered and often cherished, even comically. It’s a place where people can begin rebuilding. I’m holding on, then, in my Quaker Meeting as one root to be grafted.

Look closely at the women, especially, and see how much of the legacy continues in spite of everything. (The kids today have it right, their perception of hippie as a girl thing.) Or, as they say. We’ve come a long way, Baby.

Yet that hippie label, I should add, has undergone its own transformation, rarely positive. Alas. Especially for us males.

Most of them, I hope, come across better in the book.

Still, it’s an account of history as we encountered it.

You can find Pit-a-Pat High Jinks in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. It’s also available in paper and Kindle at Amazon, or you can ask your local library to obtain it.

For better or for verse, here are more lodes I’ve also mined  

By the standards of many, I’ve been a prolific poet, though if you consider that just one new poem a week would come to more than three thousand now.

Sounds about right, even with the arduous revisions they underwent, pressing the original inspiration into something quite different, always in an “experimental” rather than traditional vein. Add in all the hours of submitting the results to journals and small press openings, and all the rejection slips that followed, it was an obsessive amount of time – I had been warned that even “successful” poets averaged 20 rejections for every published poem. And beyond that, simply preparing a “clean” page for those submissions back in the days of typewriters pressed the limits of patience.

Still, poetry could be done in shorter spurts than fiction in my free days and nights while I was engaged working fulltime in a newsroom. As a minus, it did divert my attention from the local news scene and related gossip, but it did sharpen my editing and writing skills, both of which chafed at the limitations of newspaper style.

Many of my early poems sprang from my journals, something that changed over the years, especially as I got into Deep Image and related techniques. While more than a thousand of my poems were published in journals around the globe, book-length collections remained elusive. Now, however, some are available as ebooks, allowing you a chance to sample my evolution over six decades.

Here’s a lineup:

American Olympus: This longpoem is also a mythopoem set in a single week of camping on the Olympic Peninsula of Washington state. The book came close to being published by a prestigious letterpress imprint but fate intervened, sending me spiraling back eastward. Many other nature and landscape poems reflecting my experiences from one end of the continent to the other and back in my early adult years await full collection. Please stay tuned for future appearances of those works.

The volume has a new cover, one that’s a departure from my usual design style. I do find the leap rather exciting, and suitably unconventional.

Braided Double-Cross: Intense attraction, sexual ecstasy, and long-term dreams ignite this set of contemporary American love sonnets that reflect the conflicting emotions and unspoken expectations that surface in the eruption of breakdown and breakup. The set, my first run of poems composed as a series, explores passions that sugarcoat realities and betrayals. Sometimes something so truly hot leaves a lover branded for life.

Blue Rock: Continuing in the conflicted passions line, these poems reflect attraction, romance, and the aftermath in today’s society. Just groove to their beat.

Trumpet of the Coming Storm: Admittedly polemic, these are brimming with buried anger erupting at last. Sometimes you just can’t ignore politics, even in a historical perspective.

Hamlet, a Village of Gargoyles: This playful investigation of human identities alternates between gossipy and confessional, set within the context of close community. The collection now hits me as somehow prescient, considering that I’m now living in a real village with characters I hadn’t considered. The tone is contemporary with nods to Shakespeare and Chaucer.

Ebook formatting does limit the visual array of what you would otherwise find on a defined page of paper, but it does make my daring work available inexpensively around the world. I can live with that and so can you, especially if you’re reading on a smart phone.

I promise, there will be more.

You can find these in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. Or you can ask your local library to obtain them.

On my own, I was writing contemporary literature, except that it turned into underground history

When I was starting out in my career and sitting at the edge of the semi-circular copy desk, one broad story I kept seeing in the headlines didn’t reflect what I was finding in daily life. It was the hippie experience, told one the public side as drug busts, antiwar protests, and rock concerts, while the personal side I sensed something much broader and transformative, which was largely ignored.

Tom Wolfe, who had come to prominence as a newspaper columnist, was right in saying that the great hippie-era novel needed to be written, though he was wrong in thinking a single book could cover it.

From my perspective, a traditional facts-and-quotes approach couldn’t touch the emotional reality, pro or con. Interviewing celebrities posing as leaders wouldn’t work, either – they largely betrayed us, maybe like never-a-hippie Trump would do later. Hippie was a grassroots movement on many fronts, many of them outside of the big media headquarters in the biggest cities.

In previous Red Barn posts, I’ve touched on many of the hippie movement’s continuing influences, things our kids and grandkids take for granted, but so much – especially of the broadest nature – remains to be examined and presented. I’ll leave that to someone else who can give it full and fresh attention.

For my part, I leave four novels as foundations for others to build on.

I’ve looked hard for work by others but found little yet faithfully left reviews online where I’ve could. Those works are, alas, slowly vanishing. Yes, we are passing.

I am haunted by a definitely hippie copy editor from the year I interned as what we called the rim, but he was gone when I returned a year later, perhaps after pressing for union organization. A lot had changed in those nine months. I wish I knew more about him, other than the ticket for Woodstock that I couldn’t accept, considering the scheduling and my bicycle as my only transportation.

~*~

The core of my perceptions remains in four novels to my credit.

 Daffodil Uprising: I was on campus when the repressive constraints of institutional America blew apart in the late 1960s. Crucially, many of the radical currents emerging on both coasts began connecting in academic nerve centers in the Midwest – places like Daffodil, Indiana, where furious confrontations exposed positions that later generations now take for granted. My novel revisits the upheaval and challenge, both personal and public, triumphant and tragic. As I still humbly proclaim.

Pit-a-Pat High Jinks: The hippie movement that is usually thought of as the Sixties actually appeared most fully during the Nixon administration, 1969-74, and brought changes that younger generations now take for granted. Yes, the ‘70s. In my case, that was Upstate New York where I lived in bohemian circles near the downtown and then on a rundown farm out in the hills where a grubby assembly split the rent and a bit more. My, we were so green and so wild-eyed.

Subway Visions: There were good reasons so many of my freaky housemates and new friends came from the Big Apple. My jaunts to The City, as they called it, provided high-voltage flashes of inspiration that ranged from grubby to psychedelic. It was a whole new world to me, even as a frequent visitor.

What’s Left: So much remained unvoiced and unexamined in the aftermath. I drafted a series of essays that came together as a creative non-fiction volume, but that went nowhere. But then I had the flash to reshape it from the encounters of the hippie protagonist of the previous three books but explored by his curious and snarky daughter. My intention for a big book about the revolution of peace and love turned into one asking what is family, primarily. Hers was quite the colorful circus.

~*~

I still believe there’s much in these that’s “still news” despite the dated surfaces that usually pass for the era.

This year, though, I’m finally saying good-bye to maintaining an effort to engage in an awareness. It’s ultimately in others’ hands.

You can find my novels in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. They’re also available in paper and Kindle at Amazon, or you can ask your local library to obtain them.

If only I could have come out as a bloody liberal

Or maybe that should be, “bloodied.” The experience has been bruising, even without physical violence.

For the record, half of the newspapers where I worked had Republican identities on the editorial page. Of the remainder, one was liberal, one was neutral, and two did not endorse political candidates, period. And in the ‘80s, when I was presenting editors with a range of political columnists, the only ones that sold were conservative.

Early on in my career, I learned that as a true journalist I had to put personal feelings aside and attempt to listen to both sides of an issue. Much later, in Quaker decision-making I saw how that could lead to a third, and much better, solution to a problem before us, not that the general public seems open to that these days.

As for critical neutrality, the critical lesson came the time I was an intern and wore a Nelson Rockefeller button sticker into the newsroom after our paper endorsed him for president. I was told to remove it, and I did. Remember, he was a Republican and this was a Republican newspaper in a town that still had two – the other one was pro-labor and Democratic and had the bigger circulation. And this was during the period presented in the TV series Mad Men. My daughters are still aghast and intrigued by the outrages and great fashion style of that period the series presented. They’re still appalled by the hippie influences that followed, the very ones I found liberating.

As a journalist, the point I learned was that to listen to people, I had to be neutral, all ears. Unlike Fox TV, still far off in the future. It’s still not news in any vein I respect. But I come from a camp that abhors sleeping with your sources, OK?

Apart from that, the reporters and editors I knew weren’t paid enough to identify with the rich? Our incomes were an embarrassment, even to the local Catholic priest the first time I married. As well as my-then wife’s uncle. If we identified with the poor at a gut level, we had good reason. And, across the nation, most of our newsrooms were non-union – trying to organize in the face of national conglomerates was suicidal, since they could outsource at a moment’s notice. Do note the party divide here.

For much of my career, newspapers were incredibly lucrative. Period. Not that pay levels reflected that. But then the business model, sustained by advertising far surpassing the newsstand or subscription price, came crashing down. Somebody has to pay the bills of covering a community. Walmart definitely wasn’t, nor were the other Big Box stores and their colorful inserts didn’t match the rates of those local ads abutting the news.

So, even apart from that, I’m not surprised American newspapers are in crisis. In my four decades as a professional journalist, I saw news coverage under attack – not just from the outside, but more crucially from owners who first bled billions from its renewed growth and vitality and then started giving the product away online without a viable business model in sight. My novel, Hometown News, paid homage to the battle and what could have been, along with journalists’ role in the survival of communities across the continent and democracy itself. In the book, it was like Richard Brautigan and Molly Ivins met Dilbert and Kafka in an industrial city vaguely in the Midwest, even when their names, sex, and races were changed.

My career as a journalist placed me in enough decaying Rust Belt industrial cities to shape one novel of high-level global investor intrigue, though it will likely remain in unpublished draft. It definitely rambles.

What is available for you to read begins as a factual distillation of some of the communities and newsrooms where I labored, but it soon turns surreal in the face of corporate management (make that mismanagement) and global conglomerates that step-by-step decimate the local economy and very existence.

While the initial draft of the book was completed in the mid-80s, revisions took time, and the work failed into fall into a marketable genre. Publishers saw it as too much of a risk and then, as newspapers lost their power and prestige on the public stage, reader interest in what really happens in newspapers dropped sharply. We are in trouble.

Let me emphasize, though, I never saw political arguments sway the development or placement of developing news stories. The decisions were made on other factors, like is it interesting? Does it have impact? Oh, really?

If we true journalists do have a bias, it’s for factual truth. We hate being lied to or being used as unwitting dupes. The consequences to that, unfortunately, have been diluted under the right-wing deluge.

For local perspective, let me recall a candidate for the board of education telling me point blank, for the record, that he wouldn’t be moving away after winning reelection and renewing the contract of a controversial school superintendent – and then he did precisely that, It still leaves a dirty taste in my mouth, may he rot in hell, no matter his professions. We ran his quote, that much was exactly what he said. But he lied, on behalf of a Republican majority on the board. Would that affect how I saw the rest of them? You betcha. And it wasn’t the first time, even back then.

But they would still get a fair hearing, even if I hadn’t moved on.

Something similar went on elsewhere with a maverick sheriff who got elected to Congress as a Democrat while being investigated for Mob connections and a host of corruption charges. Somehow I’m recalling that an undercover agent fell from above the ceiling and onto the restaurant booth table where our suspect was dining – or whatever. We pursued that story and more, not that it didn’t keep him from winning and being reelected. For details, look up Jim Traficant’s wild record.

For that matter, he could have been an inspiration for Trump.

~*~

Leap ahead to the current polarization in the political spectrum. My decision to subtitle the novel “Reports from Trump Country,” seems prescient, given the array of Blue states as metropolitan centers with a sense of vibrancy and a future – largely on the East and West coasts – while the Red states are more rural and stagnant in between.

The hometown in my novel wound up on the rocks and, from what I’ve seen since, that hasn’t changed.

What I am finding disturbing is the rampant spread of patently false stories. It appears that way too many people don’t want to face verifiable facts, like half-empty arenas. As journalists, we knew all too well that some seemingly great stories proved baseless once we made “one phone call to many.” Do note the unsupported delusions being repeated by people with very definite biases.

Maybe I’m shouting in vain to the wind, but I’ll leave that up to you to determine.

You can find Hometown News in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. It’s also available in paper and Kindle at Amazon, or you can ask your local library to obtain it.

A true confession of one writer’s life, in perspective to date

If we’re counting from the time I got hooked on what became a journalism career, I’ve pursued a writing life for six decades now.

It began with hope, of course, including the dreams of glorious success and celebrity. You know, prizes and bestsellers and fame plus fabulous romance, family, and social life all reflecting intellectual brilliance. These were all wrapped up in the dream of a teen and beyond.

The reality, as you’re probably already about to pipe up, is that the practice of writing – whether literature or any of its other forms, including newspapers – is ultimately grubby work with none of those high-life perks for most of its faithful ranks.

That side’s not any different from all the fine pianists in our communities who never solo in public, despite their talent and passion, or the athletes who exercise daily and play unpaid in the parks on weekends, or a minister’s lifetime of well-crafted, scholarly Sunday sermons. The list of examples can go on and on. Practice, as I’ve come to embrace, is essential in many life activities, even in medicine and law. Forget the results, just do it.

While daily journalism paid my bills for most of my adult life, I was shunted to the editing side of the field, sharpening the prose of other reporters and correspondents and crafting headlines to capture the essence of their dispatches for a parade of readers rather than appearing under my own byline. Spare me the liberal elite label of the rabid right, please; real journalists, unlike the folks at Fox, put their leanings aside before touching anything. Facts are facts, which I see as important in fiction and poetry, too. Well, let’s not rule out their role in anything smacking of rationale behavior.

As far as my own writing pursuits went, I engaged in my free time in what I consider “the real stuff” – poems, fiction, work somewhere in between – much of it getting published in underground literary periodicals around the globe. It was enough to sustain me in the larger quest, no matter that the big successes kept eluding me, despite some near misses.

So here we are, at the beginning of another new year and a birthday soon to follow, and I have to admit the impact of aging, this time from the perspective of a writer. Narrow that to novelist, poet, blogger, and Quaker. One who finds there are still too many piles of drafted material remaining in the way to wherever comes after.

While I don’t have a new major writing project on the horizon – especially no new novel – I am feeling drawn to see what might still have energy in some of the drafts I’ve done in support of my earlier literary projects. There may be some fresh lessons to be gleaned or perhaps even wisdom in the light of time. It’s even an opportunity to reflect on a writing life.

An important elder for me has been the poet Gary Snyder, usually at a distance. This time, it’s from his Zen perspective of reaching an advanced age, almost a generation ahead of me:

My wife is gone, my girl is gone,
my books are loaned, my clothes
are worn, I gave away a car; and
all that happened years ago.
Mind & matter, love & space
are frail as foam on beer.

So for now, I’ll be going through the piles and clearing them away – before someone else has to. Yes, sort through the debris and move on.

It’s one more step in the practice of writing, something like daily prayer, something that needs to be done even if it seems nobody’s listening.

Now, let’s see where it leads.

Who would be on your list of favorites?

So here you have 51 of my favorite writers. Looking back over them, I recall one girlfriend who, on entering my apartment the first time, burst out with the question, “Have you read all these books?”

I was equally startled by her question, realizing that this romance wouldn’t be going very far. Of course I had read them. Well, most of them. The others were simply biding their time.

Now there’s also the startling question of just how I found the time to read them, considering I was working fulltime and also writing and submitting to journals intensely on the side. On the other hand, it’s been more than 50 years since I graduated from college, so if I devoured just one book a year, it would add up.

Long ago I discovered that if you ask a classical composer for his favorite composers, or a painter for favorite painters, or writers for their favorites, the list will be filled with names totally new to you. I suppose actors and playwrights and photographers and architects will be just as quirky.

I hope this weekly list of writers has turned up some new names for you in that manner.

I can think of some bad influences, like William S. Burroughs, Hunter Thompson, and Cormac McCarthy.

And think of others who didn’t make my list, though I’ve admired and enjoyed them – Rilke, Rumi, Bill Stafford, Wallace Stevens, Hermann Hesse, Saul Bellow. It could go on and on.

And a few more who are coming into focus as a to-be-read pile. Ursula LeGuin, Cynthia Orzick, Philip K. Dick …

It even has me pondering the question, Does a writer ever read for mere pleasure?

Who wrote the copy on all those cereal boxes I read as a kid, anyway?

Acid test poet: William Carlos Williams (1883-1963)

The coincidence of ending my list of favorite writers with Dr. Williams M.D., is appropriate. All but eight of the writers I cite are American, and one of his goals was the establishment of an authentic American voice. Or, as it turns out, voices. And the majority of the writers are from the second half of the 20th century or later.

Williams was an influence on many of them, and he was generous in his encouragement, even if he had met them just once.

I first encountered him as an assignment for a contemporary poetry I was taking at the beginning of my junior year of college. I opened my textbook on a rainy Saturday morning while visiting a friend at another college in Indiana and was soon entranced. The reliance on imagery was unlike anything I’d previously read. Returning to them is always refreshing and unexpectedly surprisingly.

I have a fondness, too, for his short prose, often drafted on a hidden typewriter between patients back in an earlier era of medical care. I’m not sure I’d call them short stories, not in the sense of being deeply crafted like those of Dubus or Lee I’ve mentioned or of being abstracted from real individuals, but they are direct flashes of humanity.

What makes him stand apart from the other big figures of the emerging American poetry – Ezra Pound, T.S. Eliot, Edward Arlington Robinson, Marianne Moore, Wallace Stevens, among them? His form, for one thing, openly reflected American voice patterns, as did his subject matter, arising from everyday circumstances of the common people, for another. I appreciate Kenneth Burke’s insight that poetry was, for Williams, “equipment for living, a necessary guide amid the bewilderments of life.” I’ll extend that to the fiction I love, too.

Looking at his upbringing, filled with Spanish and some elite schooling, I more fully appreciate the fact that he is the one who worked to free us to listen to our own voices rather than some nasal, high-pitched affection for our culture.

Acid test environmentalist and poet: Wendell Berry (1934- )

My introduction to Berry came in reading his Long-Legged House while sitting on a gorgeous Navajo rug on the floor of the Ostroms’ contemporary home atop a wooded ravine in southern Indiana. It was a magical matrix, considering the story.

Berry was the embodiment of back-to-the-earth, having returned to his native Kentucky in 1964 and taking up farming by horse teams (or maybe mules). He did so to the consternation of colleagues in Manhattan who argued that he was just beginning to make a name for himself and that he’d lose his momentum and start writing sentimental verse about bluegrass.

Instead, he struck gold. His poems grew from real friendships and longstanding relationships. A bigger calling came in his environmental advocacy, especially as it expanded into real economics that countered the bean counters whose views neglected the value of parents, conservation, health, and the like. It even led him to a radical Christianity, including pacifism, and work with the Amish, where he met David Kline, whose weekly birdwatching columns were collected into a wonderful book, Great Possessions, which Berry helped shepherd to publication. (It’s about much more than birds, believe me. If you’re curious about Amish life, I’d suggest starting here.)

There’s something that’s much more life-affirming in Berry’s writing than in Robinson Jeffords’ strong but misanthropic nature poems from a generation earlier.

Berry had noted that his efforts at rebuilding the soil on his farm took 16 or 17 years to show signs of rebounding. It was something I later observed in our gardening in Dover, dealing with what my wife called Dead Dirt. Over the seasons, ours began to soften and then welcome earthworms and finally flowers and vegetables.

So it is with Berry’s pages.

Acid test novelist: Virginia Woolf (1882-1941)

Maybe I was intrigued by the title of the 1962 play, “Who’s Afraid of Virginia Woolf,” but when I finally got around to reading her, in the novel The Waves, it was epiphany. While I had heard of stream-of-thought writing, but what overwhelmed me was the utter beauty of the prose and its observations. What poured forth was a stream, period.

I do get caught up in style more than content. Perhaps that reflects much of my career as a copy editor having to clean up a news story on a tight deadline.

Still, returning to her is always refreshing.

Upbeat in more ones than one

He plays everything. Even automobile hubcaps. And he’s a fine tenor, as we discovered one spring. Even a devilish composer, shown by his setting of a Longfellow poem we tackled under his direction.

He has a discerning ear, fine sense of humor, and rocks as well as Renaissance. He’s also a clean conductor, with supporting gestures, even when he’s playing ukelele on the podium.

Our Mister Music, or Music Man, as Gene Nichols is known in Washington County, Maine, and beyond. Director of Quoddy Voices.

I’m still not quite sure was his center of gravity is, but his orbit is quite wide.