A shelf of books was often part of the hippie scene, and I suppose many of the novelists and poets were technically beatniks, but they shaped our journey as well. I think, especially, of Richard Brautigan, Jack Kerouac, Allen Ginsberg, Gary Snyder, Richard Farina, and Gurney Norman, as well as the German Herman Hesse of an earlier era, and Tom Wolfe’s Electric Kool-Aid Test Acid Test. There were also many non-fiction works of influence, including the Whole Earth Catalog, and the Lama Foundation’s Be Here Now.
Which authors and volumes would you add to the shelf if you were trying to give a fuller picture of the experience?
I suspect there are some fine reads that need to be recovered, and blatant self-promotion is also welcome.
One of my annual rituals involves emptying the large compost bin as we prepare to enrich the garden for our new plantings, and then refilling it with layers of collected leaves (bagged by our neighbors, especially, each October), a winter’s worth of kitchen garbage, and bunny-cage hay and its prized pellet-manure. The production of “organic matter” to counter our clay soil is also part of our battle against what my wife calls Dead Dirt Syndrome, and it’s been a wonder to observe progress over the years we’ve been at it.
The Apostle Paul has exhorted Christians to pray without ceasing – an impossibility, as we know – yet as I lift forkfuls from the big bin, reline its sides, load and unload the wheelbarrow, I often find myself entering a prayerful zone of reflection. First, there’s the reminder that humus – the stuff of compost – and humility are words sharing a common root, and that both are nurturing elements for life. Then there’s an awareness of our essential abundance – all the meals we’ve enjoyed; the reality that children in America are familiar with tastes that kings in earlier times would have never imagined. We haven’t gone hungry. In fact, there’s so much waste to lament, a resolution to be more frugal or attentive, and then a sense of contrition knowing that we’re still putting this to work rather than tossing it out to the local landfill. Soon I’m appreciating the stages of transformation as I observe how matter breaks down into something resembling potting soil – rich, dark, soft. But I also know this always requires patience and will go at its own pace, no matter how I might try to rush it.
I’ve learned to watch the stages of change, too. That period when the pile begins steaming and its interior reaches 140 degrees or so. Followed by that period when the red wigglers (or is it wrigglers?) appear and proliferate. My buddies, reducing the leaves and hay and newspaper and cardboard and garbage into finished compost. You could view them as angels, arriving from wherever to bless the home and garden. At least I do. Yes, gratefully.
Already, as the compost pile thaws, the Cadillac of worms is digging into work. A happy sight, indeed.
This miracle of being allowed to release so much pent-up work is impossible to describe, but it is fostering an incredible change within me. The publication of my novels as ebooks through Smashwords.com and the postings on this blog of so many bits from my archives are allowing me to enter a period of reduction – something I’m calling “decollecting,” when it comes to my books, recordings, manuscripts, extra clothing, and other assemblies. What I’m also finding is an opening to rethink almost everything and, like the layers of an onion being stripped away, of finding myself willing to rely on fewer and fewer answers … and more and more questions. Add to that a growing sense of wonder, in many cases, or of futility and cynicism, when looking at so many of the political and economic policies being followed blindly.
What I am accepting is that I require less and less material support. Maybe it’s the renunciation in my yogic past finally kicking in, or maybe it’s the tightened focus on what remains before me.
One thing I know as I view the trail markers before me: I’m not ready to kick back, for certain. Let’s see where this goes.
I’d thrown the kids off the PC, where they were watching an episode of The Simpsons, only to find out it was actually an assignment for the older one’s upper-level college course, the Sociology of Humor. [No joking.] And then I got around to some poetry submissions, including an acceptance or two.
Glad you like the work I sent. The elk poems arise out of the four years I spent in the desert of Washington state, bordering the “dry side” of the Cascade Range. They’re part of a series, most of which has already appeared in journals. I’m not a hunter, but living as I have most of my adult life in places near forest (even my time in Indiana and Iowa), I’ve had to acknowledge the existence of hunting as a fact of life – and the ways ancient hunting, with its religious/spiritual dimensions (the discipline of meditation, for instance, arises from waiting for the game), contrasts with modern “harvesting.” Even so, some editors have rejected the work out of hand – maybe they thought I’m a NRA member (quite the opposite, in reality – no guns for me).
Among the poems I’ve written are “After the Fact,” which comes out of Native American lore. It turns out that Gary Snyder also has a piece drawing on the same myth – “This Poem Is for Bear” – which acknowledges the aspect of the girl’s disrespecting the bruin before the abduction. I found another piece along this line of my work, “If a Man Goes Mad,” which works along a similar grain.
Finally, as I look back on the period, I reopen a longpoem, my American Olympus, based on a one-week camping trip with a now ex-wife and a former girlfriend who was visiting (who would have guessed they’d actually enjoy each other’s company). As it turns out, I still hear from the ex-girlfriend.
Typically, when you first enter a forest, you see very few animals. Maybe a squirrel or two in the shadows, and then flitting birds. It’s mosquitoes or other insects, mostly. You might as well be looking for fish. Even in a desert, where the range is wide open, this happens. Pay attention, though, and they appear, albeit largely second-hand – a snap or cracking branch, the cry of a blue jay or crow, the high-pitched exuberance of peepers in spring, the work of beavers, a feather on the trail, a tuft of fur caught in a snag, the small tunnel opening of a den, a pile of bone, a curl of snakeskin. Tracks and scats, especially. To say nothing of roadkill, along the highway.
Thus it was in my initial forays into the high country west of Yakima, where I was puzzled by deer-like pellets and tracks everywhere in the undergrowth. In time, I learned how widespread elk had become again, after being decimated a century earlier – and how crucial hunting and fishing organizations were to the conservation efforts. Although I neither hunt nor fish, I came to respect those who do so with a sense of humility and admiration. At the office, especially, Jim Gosney and Wayne Klingle told of intimate encounters in the field, while others, speaking of the occasions when they’d eaten the meat, could have been describing a sacramental meal. Heard their derision and disgust, too, regarding others who come only for slaughter. Heard, too, that the best places to observe elk were at the back of the Rez, south of town – an area off-limits to all but tribal members and their guests.
That understanding was only a small step from timeless Amerindian lore, the insights and practices arising where survival or death hung in the balance. Even before my move west, I had begun running across these stories, however haphazardly; by now, the Native American myths directly touched me in ways I found more compelling than the Greek, Roman, and Norse mythologies that fill so much of our literature. More pressing, in fact, than the Hindu and Buddhist stories I’d devoured before heading west. “If a Man Goes Wild” and “True Practice” both draw on this trove, even if some poetic license is applied; besides, the stories themselves no doubt become varied as they pass from one locality and time to another. Here, though, the animals are no longer inferior creatures but can speak and interact in an equality with humans.
From this perspective, whether we’re considering elk, moose, or bear, the reappearance of large wildlife expresses not only a healthy forest or range, but a healthy society as well. I cannot think of elk without also thinking of what’s been lost and is being lost from the North American continent. Recently, returning to my native Ohio in winter, I looked across the shorn corn and soybean fields and realized how impossible it is to imagine the endless forest my ancestors entered, when elk and wolves and Indians were still present – nor the ecological catastrophes that followed in their first years after.
For me, elk are an emblem of what I learned living in the foothills of central Washington state. Here, then, are moments when the intimacy resumes, one way or another. Elk matter, indeed.
The elk farm in Lee offers me reminders of the wilds of the Cascade Range in Washington state, especially.
We sometimes express a yearning for the return of the Renaissance Man – the individual who could be conversant on all fronts of intellectual inquiry – but the reality today is that it’s impossible even to stay abreast of the developments in one’s own field, much less other more widely shared interests.
Just ask folks who read if they’ve read your latest hot discovery, and you’ll likely get blank looks. It’s just a fact of life, even for works that are in the basic canon.
It extends to the other arts, too, and we won’t even raise the frontiers of science.
That reality hit home the other night when we sat down (finally!) to view Citizen Kane. I knew from my cinema studies (uh, 44 years ago) that the work was then considered one of the four greatest movies ever made, but somehow it had slipped through my viewing. Yes, I’d seen Birth of a Nation and the Battleship Potemkin and likely the fourth work on that tally, though I can’t remember what it was.
And now? I’m in the camp that considers Kane the most important movie ever made. Period. And, as my viewing companion said afterward, “I was ready to respect the movie, but I didn’t expect that I’d enjoy it as much as I did.” Which was immensely.
If you want to know how Orson Welles and his team changed the face of movie-making so utterly profoundly, go to the Wikipedia entry for the movie and then watch Peter Bogdanovich and Roger Ebert’s running commentaries, which are included on the Netflix DVD. Apart from the advent of color, there’s really nothing they didn’t revolutionize. (If you see something they missed, speak up.)
I’m glad we saw Kane after we’d watched The Grand Budapest Hotel. For all of Wes Anderson ‘s wonderful quirkiness, we could now appreciate the ways he and his team paid homage to Welles and the incredible cinematographer Gregg Toland at the head of that list.
We’re now going to have to watch both movies again.
Streams that could be harnessed for water power were prized in earlier periods of American history, perhaps nowhere more than in New England. Here are views of a mill on the Great Works River (fittingly named by Quakers) in South Berwick, Maine.
The leafing trees will soon obstruct this view of the mill perched on the edge of the falling water.Houses, too, perch at the edge of the drop-off.
Viewing several documentaries on the writing life in Manhattan in the 1950s leaves me wondering just how anyone could afford it. Yes, the world was quite different then and, if we can believe their arguments, the written word was king the way it would no longer be by the late ’60s.
Still, it’s hard for me to believe that writing would have paid that much more in the era than it did when I entered the profession. How many plum magazine assignments were there, anyway? Or how many lucrative book advances?
The argument that rents were low, especially in Greenwich Village, is hard to believe for anyone who tried to find a decent place upstate in the early ’70s, as I did. Even for a full-time journalist working for Gannett, the best the pay would cover was a slum where a heavy rain would leak on my typewriter.
And that was without the heavy drinking that we’re told was required of the New York literary set, as well as the psychotherapy, sometimes daily. Plus the heavy smoking. Did I add, all the men wore suits and ties. (And all of the writers and editors, it was emphasized, were males. Women were employed as “fact checkers.”)
Still, when I run the numbers, they don’t add up. Can anyone tell me what I’m missing?
Spring yellow, for Easter. I cut branches of forsythia, bring them indoors, find an appropriate vase with water, if Easter’s falling early. And then they open, with a profusion of yellow. Sunshine.
The title, drawn from a line in Galway Kinnell’s “Tillamook Journal,” brings to my mind the corkscrew motion of seasons, memories, and time itself across the sequence of landscapes where I’ve dwelled.
My poems arising in this vein rarely stray far from northern woods. Or from the woodpile or fire, even in summer, no matter how unacknowledged their presence.
Nor do the poems in this range stray far from crickets, whose fiddling is akin to rubbing sticks together to create a fire. Where I live, their night rasping intensifies in early autumn, as though defying the growing chill and approaching, decisive frost. In a sense, there’s an inverse relationship between the mating songs of birds, so rampant around dawn in mid- to late spring, and the cricket activity. In the end, their music goes where the smoke goes. For now. Before starting over.
Jnana's Red Barn 