Tag: Counterculture

TAKING A FALL IN AUTUMN

~ Jnana Hodson ~ 8 Comments

Autumn typically stresses my allergies to a point that many years I’ve been knocked down for a week or two with “flu-like symptoms,” as one physician diagnosed it. (Not that he had any magic shots or pills to speed my recovery.) Some rounds have meant being unable to stay awake long or finding myself chilled to the bone, unable to warm up. Shortness of breath, dizziness, and loss of appetite are also common. Responsible work, please remember, is out of the question.

A routine of preventative medications in the past decade or so has allowed me to largely elude the malady, but this year I’ve been hit.

As illnesses go, this is quite tolerable, as long as I’m not trying to do much of anything. It simply means lying low and drinking liquids.

An upside does appear, though: for me, it’s the reading orgy that can accompany the recovery.

Do other writers (or readers, for that matter) feel obligated to tackle certain periodicals or books before getting to our guilty pleasures? Or is it just me?

Don’t get me wrong. For instance, nobody forced me to subscribe at a bargain-basement rate to the New York Review of Books, but after several appeals, I caved in – and then the issues began to pile up.

I hadn’t really followed this periodical since the early ’70s and was curious to see how much it was sticking to its earlier biases. (Yes, I’m using that term.) Happily, I’m finding a broader range of thought than I’d remembered. What has taken some readjustment involves the depth of the articles. Each one carries an assumption that we are somehow conversant in an esoteric topic that is apparently an earmark of intelligence or a solid education or … well, I dive in anyway, realizing I seldom know enough to challenge the author’s line of argument. It feels like being swept along in a tide.

This is also reminding me of a hierarchy of intellectual discourse in writing.

If the New York Review of Books is at one level, the New Yorker seems to sit a step lower, and the New York Times on a step below that. New York and Vanity Fair magazines, along with the Boston Globe, Washington Post, and a handful of other newspapers sit a step lower – and they’re all well above the median level today. As for the rest of us out in the sticks?

Admittedly, I felt a little pressure here. My wife repeated her request I pass the issues on “when you’re finished,” and that meant intact editions rather than my usual filet strategy that cuts a magazine apart, clips out articles of interest, and pitches the rest. (Saves space, for one thing, and puts pieces I want to address in appropriate files, for another. Plus, in the old days, we used to mail clippings of interest to each other – remember that, back before email?)

Well, back to that matter of keeping up, especially when we have our own local and regional issues to address, in addition to our individual specialized interests.

I got caught up with the backlog of New York Reviews and a few other magazines. And then it was on to a stack of books. Huzzah! Huzzah! Without getting into the list, let me just say what a pleasure it is to read a volume straight through, within a day or two, as God or at least the author intended – rather than having to do it by bits and pieces over long stretches of time. (Do I need to mention there are many books around our house still waiting for the final, uh, consummation? Not all mine, by a long shot.)

Well, I am feeling better now, thank you, and there’s a long list of home repair and garden projects to do before cold weather kicks in. Life really depends on maintaining a balance, doesn’t it? Or is there a better way?

ON ART ABOUT ART

~ Jnana Hodson ~ 3 Comments

As I said at the time …

I largely distrust art about art. It’s not that I haven’t written poems about poetry, much less music or paintings. I think we all do, sometimes as a matter of reflecting on the practice we pursue as artists. Why do I write what I do, in this voice or style? Where do I fall in the stream’s current?

The danger is that such work can become incestuous. Artists of all stripes can easily perceive themselves as high priests of the mysterious or marvelous. We are inspired, or so we think. Or at least super-sexy. We have special visions and heightened awareness. We speak our own jargon. So what if the masses cannot understand if it heightens our niche? What sells is commercial, and we point to its cheap tricks, unless it’s feeding our wallets.

What happens, of course, is we speak more and more to each other, rather than the world we inhabit. We celebrate ourselves, rather than searching outward. We become artistes, caricatures who flock to cafés and late-night bars, rather than hard-working creators. Paris wasn’t Paris when it was the expats’ hot stomping ground. Their old photos look more than funky.

Consider, for a second, the opera. Let me argue that Butterfly, free of the artist halo, is a more fascinating and touching character than Tosca, the opera singer. Parsifal or Lohengrin, than Meistersinger. Orpheus moves me as a widower, rather than for the power of his music. The magic flute, fortunately, becomes a mere footnote in Mozart’s cosmic comedy.

That’s before we even get to the application of “poetry” to describe another art. A pianist whose playing is “poetic,” for example, or the “poetry” of a piece of architecture. Again, it becomes incestuous or self-celebratory and essentially meaningless. Do we mean pianism that’s introspective and not flashy? Then what about humorous poetry? Do we mean architecture that instills a sense of awe or one that’s lean and understated? And so on. Should we even ask which poet the critic had in mind?

This might also have something to do with the fact that I’ve spent most of my adult life as a journalist, rather than in a full-time literary profession. I don’t teach writing or literature. Even in religion, where I am actively engaged, it’s not in paid ministry – which can seem somehow tainted by the fact it’s a job or employment. They overlap, of course.

Despite that, I have written collections that remain homage. My unfinished Corridors arises in the experiences of visiting art museums over a lifetime, as well as making art: while individual pieces are named after various artists, I should point out there is rarely a direct connection between the two, other than the spirit of life. Likewise, the Partitas and Fugues cannot employ a direct correspondence between musical form and language – if anything, in acknowledging the wonder and joy such works stir within a listener, my poems only admit the chasm between pure music and an aspiration for a pure language, apart from literal meaning.

Now, out into the field beyond the field across the stream below the house, as it were.

AN ABOLITIONIST NEXUS

~ Jnana Hodson ~ Leave a comment

Coming upon Moses Brown Square in Newburyport, Massachusetts, one evening threw me for a loop. The plaque said this Moses, 1742-1827, was a prominent shipbuilder and merchant active in the slave trade. (Not to be confused with a Capt. Moses Brown, 1742-1802, a privateer – that is, a licensed pirate living nearby — also on the wrong side of my moral compass.)

The ringer, as I read, was that Newburyport, with all its wealth based on the rum, sugar, slave trade triangle, was hostile to abolitionists, and its Moses had soon become its wealthiest resident. So that was the funding for those glorious houses on High Street, not the whaling trade? I hadn’t suspect this turn.

What a contrast to the more famous Moses Brown (1738-1836), a Rhode Island Quaker convert who became both an avid abolitionist and a pioneer of the Industrial Revolution in America – himself quite wealthy and a founder of what’s now the prestigious Moses Brown School in Providence, adjacent to Brown University.

I’m guessing they were all cousins, given the naming patterns and wealth.

What further intrigues, though, is the other statue in the square, this one for William Lloyd Garrison, an abolitionist who was also from Newburyport. There you learn of the depths of the town’s virulent support of slavery and their collaboration with its institution.

Curiously, Garrison “the Great Liberator” found two important colleagues from upstream on the Merrimack River.

The first was John Greenleaf Whittier, the Quaker poet living in neighboring Amesbury, Massachusetts, kitty-corner upstream.

And the other was the journalist Horace Greeley, born in Amherst, New Hampshire, further upriver.

What I see in all this is a hint at the hot pockets, pro and con, on a contentious issue of the time – sometimes within a stretch of the map, sometimes with a family. Not that things are always any different today.

TALK ABOUT HARSH CRITICS

~ Jnana Hodson ~ 4 Comments

Perhaps nothing separates us from earlier generations of Quakers more than our love of arts and entertainment. It’s not just that our frequent references to music, fictional stories, and visual arts would have perplexed or even annoyed them. Especially as part of our vocal ministry during worship.

Rather, these were simply forbidden as vain or even useless. The focus was on piety and humble service.

Pleasure for its own sake? We wouldn’t have been members back then, period.

~*~

And now I find myself envisioning some of Peter Milton’s wonderful lithographs in which earlier generations of artists watch from the balconies or wings of the scene unfolding. I often have that sense of the past watching us — and that includes in our Quaker circles.

WHERE HAVE ALL THE OLD HIPPIE DUDES GONE?

~ Jnana Hodson ~ 2 Comments

As I reexamine just what happened to the hippies and conclude that the movement continues in many strands we now take for granted or simply overlook, I am nonetheless struck by a reaction in seeing a number of men who continue the look. Their long hair and threads may fit the style but for the most part they exude an aura of loser. Or, worse yet, a bum.

Sometimes it’s the cane they need for walking or an indirection or their lonely gaze. Missing a projection of derring-do or colorful theater or cool leadership, they instead seem to be more in need of a handout than any extension of underlying comradeship. In the height of the outbreak, back in the ’60s and ’70s, we often found ourselves pooling resources and abilities, perhaps just for a communal dinner or a party or a rally. There was an unstated mutual responsibility. Here, I feel only one-sided need. Never among them do I see someone I’d consider for a roommate, if I were still single.

Let me add this doesn’t fit all of us older guys in beards and long hair. But we have come through quite a lot over the decades, personally and as the carriers of a vision, to make me feel more like a survivor than a victor. For the most part, it’s been rough. Some of us did find ways to pay the bills without abandoning the style. Some have done it in the inner city, while others kept truckin’ on in a back-to-the-earth mode. Some have evolved into something, uh, higher. More mellow, peaceful, even wiser.

My own experience in the past year of growing out my remaining hair into a ponytail has brought its own perspective. It never seemed to tangle like this, for one thing.

REGARDING THE DLQ

~ Jnana Hodson ~ Leave a comment

Jaya, in Promise, isn’t the only character in my fiction to address a concept I’ve dubbed the DLQ, or Dedicated Laborious Quest. But she does, I’ll argue, come closest to aspiring to an artistic expression for its encounters.

The DLQ, as I envision it, is the long-range discipline of spiritual pursuit, one that can be found in any number of variations in any number of religious, artistic, social activist, or even athletic lines of action. It’s a blending of heart and head, body and soul, awareness and discovery – the poet Gary Snyder refers to something similar as the Real Work, for instance, or maybe simply “daily practice” will touch on it as well.

One of Jaya’s concerns is a search for a fitting vehicle to embody the experience. Essays are too prosaic. Poetry? Sometimes. Drawings or paintings? To a degree. Maps of a kind? Getting closer, I’d hope.

Even so, I’ve wanted to leave the ultimate form she uses open to the imagination.

And then, more recently, I came across something that comes closest. An exhibition of Shaker art and artifacts at the Farnsworth Museum in Rockport, Maine, introduced me to what are called Gift Songs or Gift Drawings or Gift Paintings, which take their name from the faithful artist’s position as a medium receiving the song or design from a deceased member of the sect (that is, given) to be conveyed to another, living member of the sect (also, as given). To be appreciated, these must be seen in the original, full size, since much of the detail gets lost in reproduction. Sometimes the words are in a secret, private language and alphabet. Sometimes they blend. The lines flow, turn upside down, sideways. The works are sprinkled with artwork as well as words. Are they magical? Or simply mysterious?

Whichever, they spring from a tradition and discipline and practice to utter something deep in the heavenly desire and earthly community of a particular recipient.

I can tell you Jaya would have been most impressed. Definitely.

Promise~*~

To turn to my novel, click here.

 

ALONG WITH THOSE ARTISTS WE KNOW

~ Jnana Hodson ~ Leave a comment

As I said at the time …

For too long, there’s been a huge gap between the blockbuster superstars and the rest of the practitioners, many of them far more innovative or penetrating.

Paris for American ex-pat writers? Again, I smile. By the time you and I came along, the destination was Seattle or San Francisco or Greenwich Village. Or some mountainous terrain, for those of us who couldn’t afford anything better. (Or thought so.) And then Minneapolis and, of all places, San Antonio. As it turns out, New Hampshire has far more than its share of authors, probably because of its proximity to both Manhattan and Boston, in addition to its tax structure – so again, I’m in a decent spot.

Especially compared to many of the others.

SNOBBERY, ALL THE SAME

~ Jnana Hodson ~ 3 Comments

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.

NO, HISTORY CANNOT BE ERASED

~ Jnana Hodson ~ 8 Comments

“Fellow citizens, we cannot escape history,” Abraham Lincoln wrote to Congress in December 1862.

Wednesday night, in her impassioned and reasoned impromptu plea to her colleagues in the South Carolina House of Representatives, fellow Republican Jenny Anderson Horne broke through a logjam of tactical delays so that her state – and the entire South – might finally address history.

We’ve long heard the argument that the War Between the States (there was nothing civil about it) was over states’ rights rather than slavery – a bogus case, at best, when one considers the 1857 Dred Scott v Sanford Supreme Court decision that stripped Northern states of their right t0 defend the human liberty of escaped slaves. No, the South decisively denied states’ rights. Or at least its powerful slaveholders did, when they wanted.

Like Horne, I have Southern roots – not as many or as distinguished as hers, but enough to make me aware of the complications Southern whites faced. On my father’s side, the North Carolina Quaker identity long meant opposing both slavery and the bearing of arms. Theirs was a difficult witness, long before the war and in its destructive aftermath. And I have a copy of the memoirs of another family member, my great-great-grandmother’s uncle, an Ohio farm boy who died from wounds in the Battle of Stones River, one of the deadliest outbreaks in the war. My mother’s side included slaveholders and soldiers, mostly Confederate, along with a wealthy individual not enlisted who gunned down isolated Union troops he ambushed as a guerrilla – one who was apparently hanged, not that we ever heard that story. Instead, it was always my great-great-grandfather’s long walk to deliver the last message of a comrade to his family – the journey that planted the family in Bowling Green, Missouri.

Still, I’ve long been offended by the flying of the Confederate flag. Its intention has been all too blatant … and racist. Period.

If you want another view of the cost of slavery on the South, black and white, look up Wendell Berry’s essay, The Hidden Wound, arising in his own childhood in Kentucky. He saw through any pretense of honor masking at least one prominent citizen.

Most remarkable in Horne’s speech was her readiness to move beyond family identity. As she told the Washington Post after the vote, “It’s not about ‘Oh, my great-grandfather was killed in the Civil War and he gave his life.’ That’s not what we are here to talk about. What we’re here to talk about is what’s in the here and now. And in 2015, that flag was used as a symbol of hatred.”

As she emphasized, “We’re not fighting the Civil War anymore. That war has been fought. It’s time to move forward and do what’s best for the people of South Carolina.”

All the people.

What a contrast to Rep. Michael Pitts, a white Republican, who had told the House earlier in the debate: “I grew up holding that flag in reverence because of the stories of my ancestors carrying that flag into battle.”

Maybe he should have heard the “into battle” part more clearly – battle against freedom for all. Battle, however indirectly, against his black neighbors, as well, and not just the North. And often in battle against the poor.

More telling for me was Rep. Eric Bedingfield, also a white Republican and defender of the flag, in his declaration: “I have wept over this thing. I have bathed this thing in prayer. I have called my pastor to pray for me,” before adding, “You can’t erase history.”

No, you can’t. The history is the war’s over – and the Confederate flag lost. Put it away. Look at the full history, then, black and white, rich and poor. As much as I love genealogy, it fits into a larger story — and rare is the family chart without shame or guilt or human failure somewhere.

History? The Confederate cause has been accurately described as a rich man’s war fought by the poor. I still wince reading of the brutal torture of pregnant women or the elderly at the hands of the Home Guard – in North Carolina, at least, comprised largely of men owning 20 or more slaves and thus exempted from Confederate Army service. We need to break out of the prevailing mythology or fairy tales and instead open out on the wider story stripped of its masks.

As for the prayers, you and your pastor weren’t listening – Moses could tell you about slavery in Egypt and the way Pharaoh’s losing army was swept away in the Sea of Reeds (or Red Sea). Maybe there are good reasons Cairo never bothered with its side of the encounter. Later prophets in the Hebrew Bible could tell you about slavery in Babylon and its emotional burden. It’s all there in the open to be read.

If anything, the decision to remove the rebel battle flag from the state capitol dome can be seen as a response to the flood of prayers in the aftermath of the Charleston church massacre. In the eyes of many, a photo of the accused killer and the flag said everything. In contrast to my fellow citizens — or my fellow Christians.

The reality could no longer be ignored. It was all about racial hatred.

The Post report continues: “Some call it the war between the states, some call it the Civil War,” Pitts said, defending the Confederate flag. “Growing up, in my family, it was called the war of Northern aggression; it was where the Yankees attacked the South, and that’s what was ingrained on in me growing up.”

Hidden in that defense is a slap at the rest of the country. Black and white. Along with a denial of what the North experienced as escalating Southern aggression in the decades building up to Fort Sumter.

You can’t erase history. You can’t escape history. You can get trapped in it, when it’s distorted, the way propaganda does.

You can, however, make history. And break free.

The way Jenny Anderson Horne has, for us all.