Tag: Counterculture

LOOKING FOR THOSE LOCAL DISTINCTIONS

~ Jnana Hodson ~ 1 Comment

As I said at the time …

Greetings again from this old mill town along the Merrimack River.

There is still a special feel to an octavo-size, typeset journal – a unity of design and purpose carried throughout – even in this era of desktop design and photocopy wizardry. A major challenge, whether it’s in shaping a literary journal like yours, a daily newspaper, or even an old-fashioned country dance, is simply: what can we do to make our own locale distinctive?

An example: a few years ago, the New England contradance scene was becoming generic: you’d drive for miles to a village town hall only to find the same faces and same pieces you had faraway the week before. Fortunately, that seems to be changing as different callers, musicians, and promoters are striving to put their own distinctive signature – and a local stamp – on each venue. So there’s your challenge!

I’m struck by the fact that even familiar voices from our round of journals seem to sound different in varied locales. If you’ve ever been around paintings, as I was when married to an artist, and seen a piece go from her studio to our living room to an art gallery to a major museum, you would be amazed how different it appears it each setting. Publishing is the same.

NO NOSTALGIA

~ Jnana Hodson ~ 2 Comments

There are people who feel nostalgia for the ‘50s or early ‘60s. Not me – except for the high culture, which was still deemed important — I was glad to see them go. Those decades, despite all of the lofty aspirations in some circles, really were confining and laced with hypocrisy and denial.

What I lament losing most in the decade of civil rights and hippie movements that followed, though, is a side that gave a sense of hope in its spiritual, political, and social justice yearnings. But not the narcissistic or hedonistic excesses that too often accompanied the movements.

To be honest, that stretch of my history had its own pluses and minuses … and a lot of lonely heartbreak. Seeing it honestly, then, means accepting both sides and their lessons. As well as continuing the mission.

GETTING BEYOND LIKE OR DISLIKE

~ Jnana Hodson ~ 8 Comments

One of the secrets to living a richer life comes in learning to evaluate experiences beyond a simple like or dislike – especially on first encounter. So many of the delights of living are found in acquired tastes. Returning to a challenge for new insights. The critical examination and perspective.

So it’s been with the opera, so much classical music, visual art, beer and wine, even literature I’ve come to love. To say nothing of Holy Scripture. Or the places I’ve lived. To be honest, there are often stretches in a long hike I might admit I don’t like, especially if the insects are biting and the incline’s steep, no matter how much I’m enlivened by the entire outing.

Somewhere along the line, I’ve learned to distrust what comes easily. In living with a piece of art, you may realize fatal flaws behind the initial flash, or to your continuing delight you may find the revelations expanding.

Part of the transition comes in learning to see value in ambiguity and paradox, or to find riches in the shadings of gray beyond simple black and white. It’s not an argument for self-torture or meaninglessness, but rather a willingness to suspend disbelief long enough to consider many other dimensions.

Yes, I like pizza. But, as an illustration, I never would have discovered the joys of manicotti if I’d insisted on the familiar pie that one night.

At the moment, I’m cracking open the Bartok string quartets by means of repeated listening and finding such beauty beneath their outward gruffness. Any examples you care to add the list?

ANABAPTIST ETC.

~ Jnana Hodson ~ Leave a comment

As I said at the time …

You ask about “Anabaptist.” I’ll try for a short answer and hope it works. In the early Protestant Reformation, three major streams emerged. The Anabaptists accused the Lutherans and Calvinists (Reformed, Presbyterian, and English Puritan churches, among others) of not carrying the faith far enough and, as a consequence, were severely persecuted by them and the Roman Catholics. As the first to argue for a strict separation of church and state, they became pacifists who warned that any official state church seriously compromises the Gospel. The movement exists today as Mennonites, Amish, Church of the Brethren (or, in its older forms, Dunker), River Brethren, Bruderhoff, Amanas, Hutterites, and – by extension – the Society of Friends, or Quakers. It traces its roots to the Waldensians, the communalistic radical Christian movement against whom the Inquisition was launched. Its traditions include non-violence, simplicity, discipleship, community. You can see the absurdity in having one of them as a military chaplain! (In Catch-22.)

The term itself means “rebaptized,” an argument that infant baptisms (which that first generation had undergone, before the Reformation emerged) were invalid: the only authentic acceptance of faith could be made as an adult.

Because the Mennonites took literally Amos 5:23, “I will hear thy viols no more,” they banned instrumental music from their lives. Somehow, though, they practice four-part unaccompanied singing that seems to be part of their genetic endowment. Their hymnals cover the range of church music, from all denominations and eras, as long as it sings well. Whether gathered as six or eight people standing in a circle in someone’s living room, or as six hundred adults singing a Bach chorale at a wedding, the effect is quite moving: you have to be loud enough to contribute to the worship, but soft enough to be aware of everyone else. As an old-style Quaker once told me, “Jnana, thee has to remember that in their singing, the Mennonites are experiencing something very much like what we feel in our silence.”

Kenneth Rexroth, whose ancestry was in the Dunker/Brethren tradition, details much of this history in one of his collections of essays. (Don’t have the title at hand, but it’s the one about communalism.) Another poet who was Brethren is William Stafford.

You mention Thomas Merton. He inherited some of this tradition through one of his parents who was Quaker. But he felt the liberal Meeting (as Friends’ congregations are known) he attended as a child was well-intentioned but superficial, and yearned instead for the depth of its earlier generations. The rest, as they say …

Have you seen Kathleen Norris’ The Cloister Walk? As a Protestant who draws strength from her retreats and friendships in the monasteries of the Great Plains, she has some wonderful insights into abbey life.

OK, I promised to keep this short!

And I do hope your parking problems with J have found an appropriately adult resolution, other than your turning the other cheek – which, to continue all this theology, was originally an act of defiance, causing the abusive person to lose face. (By the way, 7th and Race, I take it, is Zinzinnati?)

Blessings …

EVERYTHING BEAUTIFUL IN ITS SEASON

~ Jnana Hodson ~ Leave a comment

I’ve contended that locale can be beautiful. But the reality is that many are stripped of the opportunity.

As my wife points out, a town where the railroad tracks run down the middle of the main street through town is, well, bound to be ugly.

Put another way, the presence of beauty or ugliness is a reflection of other values. Is there a degree of generosity and restfulness, for instance, or is it more stingy and pinched? There’s rarely any financial return in planting flowers, after all, and even trees take years to mature.

Still, even when I lived in some pretty gritty factory towns, small corners of beauty could be found, even if they were the exception rather than the rule. And Dover, where I am now, has undergone a renaissance from its days of boarded-up abandoned textiles mills downtown only decades ago.

To have a sense of beauty and grace proliferate, I’m sensing, is really a matter of religion – or at least heightened spirituality. Where would a community be, after all, without artists and skilled crafters who embody their holy visions?

YOU CAN’T LOSE IF YOU DON’T PLAY

~ Jnana Hodson ~ 3 Comments

One of the ways Quakers have stood apart from the larger society is in our opposition to gambling. Across America, though, the tension has grown in recent years, as governments (led by New Hampshire’s example) and Native American tribes have engaged in lotteries and casinos. Even causes we support commonly turn to raffles as fundraisers.

Still, we can witness to the fact that a lottery is an inefficient way to raise money for education or other socially valued causes. If you want something, you should be willing to pay for it directly, rather than expect someone else to foot the bill. As for gaming, the odds are vastly against winning, and I long found myself working far too hard to enjoy throwing hundreds of dollars down the drain. Even a weekly Megabucks ticket adds up. As one of my coworkers insisted, “Lotteries are a tax on stupidity.” He might have added, “a tax on despair,” as well, especially for lower- and middle-class families whose purchasing power keeps shrinking in the current economic climate. If anything, the glamour of gaming masks this reality. Maybe, just maybe, the hope goes, I’ll escape my condition. Friends have warned against the inclination to expect something for nothing or at someone else’s expense. I’m just as concerned about the quest for “fun” replacing a work ethic, or the way the entertainment media are shaping the everyday theology of the masses. Look closer, then, at the Foxwoods or Tri-State Lottery Commission commercials. Fantasy and reality diverge sharply.

Yes, it’s tempting. As in “temptation.” Even so, we believe in speaking Truth to Power. Need I say more?

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.

MEETINGS WITH REMARKABLE PEOPLE

~ Jnana Hodson ~ Leave a comment

G.I. Gurdjieff’s classic Meetings With Remarkable Men begins to look all too bland when I compare his subjects with people I’ve known over the years. Or even when I gaze around the room assembled for Quaker worship on Sunday morning. Admittedly, his travels are remarkable, especially for the time.

But without going into the details, let me say I’ve been blessed. Both men and women, all so remarkable in their compassionate presence.

~*~

Now, whatever happened to that Gurdjieff circle back in Binghamton? The couple who had the ring of benches around one room of their apartment for their own meetings? Back before I found yogis and Quakers and Mennonites and …

A CONSERVATIVES’ PARADOX

~ Jnana Hodson ~ 3 Comments

Let me admit to being perplexed by those deep-pocket conservatives who bankroll candidates who squeeze public services in communities throughout the state but, for themselves, choose to live in the most liberal districts – the ones with the highest taxes and top-flight public services. The ones with effete artsy prominence. All the stuff their lackeys publicly deride.

I wish they’d instead practice what they preach. Enjoy the misery they engender or deem fitting for the common folk – beginning with schools, libraries, parks, and health services. The things that make a place civilized and pleasant for all.

Yes, let them practice what they preach. Stay in the stingiest, most self-centered enclaves. Or be exposed and shamed for their duplicity.