LET’S CAST AN IMAGINARY MOVIE

In the (imaginary) movie version of my new novel, What’s Left, who would you cast as Cassia’s great-grandmother Dida and her sister Athina?

A large Queen Anne-style house with a distinctive witch’s hat tower something like this is the headquarters for Cassia’s extended family in my new novel, What’s Left. If only this one were pink, like hers.
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MONET AT THE WINDOW

I’ve often joked (or was it boasted?) that we have the best stained glass windows in town. And not just at this time of year. Actually, there’s something basic in the Quaker practice of having clear windows, whether the view opens to the city jail next door or a busy highway or a placid burial ground – we’re not isolating ourselves from reality when we worship.

Sitting on the clerk’s bench one morning one May, I found myself looking out at a Monet. Well, the spring green for three-quarters of the hour fit the tones he used, until it turned metallic in the last quarter-hour when the sunlight turned harsh. Most weeks after that, I tried to identify which painter the view brought to mind – a sequence of Corot, Diebenkorn, Mitchell, Twombly, Klimt, Pollack, even the Zen painting of six persimmons (ours, however, had about twice that amount of fruit), and maybe a bit of Chagall or Hopper. (What was I saying about our Meeting not being blue-collar? Here I am, expecting most Dover Friends to know most of these artists!) Occasionally, even a Kaufmann, as Dick and Jane’s heads appeared in the lower corner while they walked up the ramp to the door. Sometimes the dogwood tree presented a flat image; other times it had holes, opening to the depth behind it; eventually, come winter, it was only sketches in front of a more distant landscape, and etchings, rather than paintings, came to mind. Expecting the Monet to return the next May, it didn’t, for whatever combination of reasons, although there was one week when it was adorned with pale stars – its flowers.

Not that any of this is essentially profound, other than as a recognition of the play of light – just as we encounter various presentations of Light within the room and ourselves through the hour. But I do consider ways our perceptions and expressions differ from the earliest Friends who sat in the room. These artists, for one thing, came after them, except for the 12th century persimmons (and those were off in China, anyway); the now familiar language from science or psychology, too, to say nothing of sports jargon and even military expressions. Did those Friends ever have a bagpiper playing at the edge of the yard, or some equivalent to our sirens on the street or music from a neighboring church? How did they see the world, in ways that we don’t? Somehow, all kinds of differing eras come together when we, too, sit together. So just how do we see each other through all of these seasons and ages?

~*~

This piece originally appeared in Types and Shadows, the newsletter of the Fellowship of Quaker Artists.

TOMBSTONE: THE PREMISE

One late October afternoon, after most of the foliage had fallen, Randy Kezar and I simultaneously looked up from our pathway and beheld a large red maple fully aflame in sunlight as we strolled through the burial ground behind our Quaker meetinghouse. It was the embodiment of the single detail that says everything, the flash of perfection; this individual tree expressed the season as much as all of the previous color change and shifting light we had savored in the previous weeks. “I suppose if we were Japanese, we’d sit down and write a haiku on the spot, in celebration,” he said. Later, I took up the challenge and came up with a few lines I hope come close:

Somehow each New England autumn
comes down to boughs in a graveyard

– a common of stone and bone –

But my provocation and observations kept ranging wider, invoking a calendar not just of the place across  a year but also the epochs that fill what went from a boneyard and burial ground to a Victorian cemetery to the present, as well.

The winged death's head is a common gravestone motif in New England. This example is in Watertown, Massachusetts.
The winged death’s head is a common gravestone motif in New England. This example is in Watertown, Massachusetts.

The poems that resulted have one foot in Portsmouth and Dover, New Hampshire, and another in Portsmouth and Newport, Rhode Island, where I quote from the 1664 will of Alice Shotten Cowland and some of the activities of her son-in-law, Robert Hodgson – sometimes spelled Hodson, as well as Hutchin. (I detail what is known of their lives in my genealogy blog, The Orphan George Chronicles.) She was part of the early dissent against Puritan authority, first with Samuel Gorton and then as one of the first Quakers in the New World. I love Robert’s memorial minute, which calls him “an ancient traveler in the Truth.” He arrived in America on the historic voyage of  the tiny Woodhouse, causing turmoil in Manhattan and Long Island before heading on to Boston. As far as I can determine, he was no relation to my line, no matter how much many have tried to find the link.

~*~

Winged Death 1To see more, click here.

SNOBBERY, ALL THE SAME

To see the old meetinghouse at China, Maine, as it’s been turned into a Friends Camp arts studio (a messy one, at that) is a pointed symbol of the tensions many of us encounter as we attempt to live out our faith – and not just on the cultural front. (For the record, I am, after all, a published poet and novelist, a professional journalist, an avid contradancer, gallery-goer, foreign film buff, occasional violinist and harmony singer, and a lover of opera and classical music – all of which can raise eyebrows in various spiritual circles, and most of which would have been forbidden in traditional Quaker discipline – all this even before we turn to the struggles of the workplace, families, neighbors, or politics. Call me a snob, if you will.) The fact remains that the Society of Friends today is filled with many artists pursuing every imaginable medium. Dover Meeting is not alone in its range of talent.

A while back, I spoke of practice as something that’s ongoing and never finished, in contrast, say, to a performance or even a rehearsal. Practice as something done more for its own exploration and pursuit of a discipline than for any finished product. Practice as being part of a bigger encounter: the practice of prayer, practice of poetry, practicing musical scales, play practice, football practice, even medical practice. Something done with care, and if freedom follows in critical situations, as we often hear in interviews after a Patriots’ game, then all the better. Weeding and composting, I suppose, are part of the practice of gardening, apart from any harvest.

When I think about qualities that mark Quaker artists, I would tentatively suggest: placing the ongoing work ahead of themselves; “cool” rather than “hot”; a sense of experience and discovery rather than make-believe or escape; honesty rather than pretense; wonder rather than irony; humility rather than egotism or arrogance; candor rather than flamboyance; a preference for simplicity over complexity; directness rather than confusion; economy rather than extravagance; calmness rather than shrillness; curiosity and listening rather than dogma or bombast.

We might also turn the old Quaker views toward a critique of today’s cult of celebrities (almost universally entertainment/professional sports figures) and their exorbitant incomes – a situation that I believe accompanies a lessening of power within our communities. To that we could add the ways the arts are often used as a secular religion to sanctify public occasions. As for the Oscars?

But maybe that’s just another part of our unfolding spiritual awareness.

KEEPING IT NEAT

Barb Knowles of the blog saneteachers has nominated me for a Real Neat Blog award, and I thank her for the nod. If you’re not yet familiar with her site, let me tell you that anyone who knows what an Oxford comma is ranks high in my book — especially after all of those years as a journalist when I couldn’t use them on my paying job, contrary to my own standards. Here, though, things are different.

Allow me to confess, though, I’m of mixed mind when it comes to these awards. On one hand, WordPress (especially) is filled with marvelous bloggers who deserve wider recognition. On the other hand, I’ve found that trying to nominate others can be, well, embarrassing when you find they’ve already received that award somewhere in their past, even before coming up with fresh questions.

A while back I resolved to pass on these things, but then the temptation of participating can be fun. And then there’s that matter of time itself, which on this end will soon involve some major home and garden projects. Alas.

So here I am, looking at the seven questions, which I’ll tackle. But for now, I’ll wait before nominating others or coming up with seven new questions for them. Unless, of course, you’d like me to nominate you (go ahead, be bold and ask). After all, if you’re dropping by the Barn, you’re already cool — in all due humility. Any volunteers?

real-neat-blog-award1Here goes:

If you were alone on a deserted island with only one book, which would it be? 

Make it the Bible. Not for the reasons most folks would assume — like what God’s trying to tell us. Rather, there’s plenty to chew on here about just being human, pro and con. And Wycliffe and Tyndale (those courageous early translators) do shape our English language, more than Shakespeare, actually. Your followup question would be which translation to pack, and there I’m stumped — I use many, each one adding nuances to the close-to-the-grain sources. By the way, are we to assume it’s a long stay on that island?

What is your favorite color and why?

Blue. Intense electric blue, the shade befitting Aquarius, the color of the clearest sky. Or its cousin, cobalt, the call of the North Atlantic on a clear day a few miles from where I live.

I like favorites, so what is your favorite song?

Since you didn’t ask about symphonies or sonatas or operas or chamber works, I’ll look at song as something that’s sung — in a form other than the traditional A-A-B-A musical form plus verses. (Bet you weren’t expecting that response!)

As a baritone in a choir, I’d put Sicut cervus, a Palestrina motet from the Renaissance, up there, along with a fuguing-tune anthem, Euroclydon, by the Colonial American William Billings.

Now you have me wondering about having the whole choir on that desert island. The plot thickens.

If you could make a memory, what would it be?

Our first grandkid. Leading to my learning to change a diaper. (I jumped in as a stepfather, later in the game.)

If you could join a TV show (present or past) and be a new character on that show, which one would you choose?

Mozart and the Jungle could use a third conductor. Maybe a sane counterpoint, mentor for Rudolfo? Or maybe just to send the older one back to Cuba?

What’s your ringtone?

Ringtone? Tracfones have them? Mine’s whatever I inherited back when.

Where were you born?

Ohio.

TRAIL MARKERS AND FIELD GUIDE

As I noted at the time …

It remains work, except for that sense, in the practice of the art, of being alive. Aware. Totally there, at times. A balance, between inspiration breath within and exhalation the atmosphere without.

Yes, it would be wonderful if we were all so spiritually deep that pure worship and our daily work of gardening and cutting firewood would be sufficient. But from experience, we can see that too often what resulted from enforced exclusion of color and imagination from our lives leads, over time, to extinguishing personality our gifts, as a group, are diminished and rather than loving delight, a bitter boredom sets in bringing with it, the backbiting profits of Satan. Which brings us full circle!

I believe we are expected to bring something back to the world from our solitude. Expected to be visionaries and priests. But not, as some would claim, shaman not unless we want to stake our life on the healing power of the individual work. Perhaps, as was recognized in Zen some time ago, when we start writing and singing and painting from this experience, the spiritual movement is already past its zenith. Nonetheless we also know the power of the Zen-suffused works of painting, poetry, pottery, architecture, tea ceremony, various martial arts.

Tantra: as means of going deeper. Concentration. Vibrations. Here the importance of the work of art is not the surface itself but what it triggers within the psyche of the viewer. That is, the canvas we Westerners revere is not so important mere surface of paint. The reverberation within the viewer is, ultimately, the point of value. (All that the viewer brings to the work, or the use of religious icons in the Eastern Orthodox traditions.)

Art as discipline. Self-discipline. Form. Submission/obedience. Never ending practice.

Stravinsky’s “limitations make art.” Heifitz’s love of movies yet no time to attend.

Solitude. Prophecy. Communion. Community. Vision. Hard labor.

Magnetic center point of growth.

Simplicity/direction versus art/artifice.

A separate life, our art? Or integrated?

Having something to say to express. Versus blue smoke and mirrors. Spiritual man has no need to be clever. Distrust of tricks. (Difference between craftsmanship and trickster?) Rather, to stand naked. Irony? Sarcasm? Or loving concern for the good of all? Celebration! Creation/creating. Versus discovery. Contrived versus organic. Maybe everything is different when played on a blue guitar. Not at all!

Exploring the Mystery. Connections. Links.

Here I am, writing (a) fiction about (b) sex and drugs and other aspects of searching. Also, (c) poetry from my pre-Christian experience. Some of my fellowship would argue that’s not where I should be. Some have been praying for me through this period. The kind of work that could get me read out of Meeting. Is this acceptable activity for a free Gospel minister? All I can do is explore the Truth as it’s been given to me.

How, then, turning outward into community or the world? To be candid, including the desire to get laid, the poet’s quest, the troubadour. Yet most of us, as “artists,” are out of touch with our communities. This is a manifold argument, too complex and heated to explore here, except to say.

Perhaps we really do need to be actively intertwined with our community to write well. Not necessarily a community of fellow artists, either. Rather, an intimate fellowship. Speak honestly, critically. Now look at the faces on the magazine covers or workshop brochures. How few look like people you’d like to meet! How much anger, hatred, envy, darkness brooding comes through. How little serenity, how little joy. (Would I want any of them for neighbors? Even the ones whose work I admire?)

Yet through the act of writing, I’m also more aware of qualities in other workers. Interesting. One measure of admiration is seeing something in someone’s work and recognizing a quality I wish I had but know I don’t. So I read that with gratitude and admiration rather than jealousy. Fellow workers in the fields.

Think of the spontaneous and to our “trained” ears, trite verse composed and uttered at Ohio Yearly Meeting, that when shared received an immediate reaction: “I would like to see that included in the published Minutes” and it was, because it expressed a communal feeling.

In the ancient Shah’s court, the poet stood at one end, and the jester, at the other. When one moved, performed, the other remained absolutely motionless: the unspoken balance.