Tag: Culture

BEYOND DRESSING FOR SUCCESS

~ Jnana Hodson ~ 2 Comments

Waiting in an airport lounge for their flight to arrive and begin boarding, a wife was describing to her husband the computer she had ordered (not just any computer, mind you) and then detailing the renovations required for the room they were upgrading, or perhaps it was a wing they were adding. He nodded in thoughtful agreement throughout. They appeared to be comfortably retired, and she was resolved that this was what she needed to sit down and begin writing her first novel.

Somehow, it all felt wrong.

Not the writing, but the matter of appearances, as though one begins the volume by posing for the back cover color photograph – tweed for the men, a tasteful blazer for the women. As though writing depends on the workspace itself. As though you just plump down in a picture-perfect setting and turn out a critically acclaimed bestseller. Or at least a hefty advance. It is echoed in the group photographs of famous authors one comes across in Vanity Fair, the half-dozen or more serious novelists arrayed in a two-story private library or a publisher’s corner suite overlooking Manhattan, the happily ever after with afternoon cocktails. Leather and brass.

I’ve long pondered the airport scene, attempting to nail down what has struck such a loud discordant note. Listen to published authors discuss their workspace and you often hear it comes down to a concrete block cell or a corner of an attic or even, thanks to laptops and wi-fi, a booth at McDonald’s – not an interior designer’s photo spread. We write wherever we can – sometimes, as I prefer, in solitude, or other times, as daily papers’ newsrooms, in a large office crowded with shared computers and telephones augmented by TV screens and police radio scanners. They write, I would hope, out of some urgency – some sense each one has something unique to explore and present to the world. It’s what Bukowksi called his daily “butt time.” It’s what you put in to be a writer, the dues you pay, the actual effort rather than any posturing.

This is not a matter of comfort. The best writing, I will argue, comes with discomfort. It’s hard, after all, doing good work. Finishing the first draft is just the beginning, leading into multiple revisions and a pile of correspondence (much of it unanswered, even when the obligatory SASEs are included) attempting to connect with an agent and publisher before embarking on the marketing of the finished work – one of the five hundred or so novels published that week.

Did the retired beginner actually complete a first draft? Or did she find excuses along the way? Did her health hold up? (Writing demands more physical strength than one imagines – especially in maintaining the mental concentration of developing the characters and plot turns.) Did she have a storehouse of memories and exotic experiences to draw upon or a long gestated outline to quickly fill in? Had she done her homework in devising a story fitting a tightly defined marketing niche – one that would easily sell? Had she filled suitcases with letters, notes, and snapshots to prompt specific details or sketched in a lifetime of personal journals? Did she possess crucial contacts who would come to bear on publication?

There’s more to writing than looking like an Author – whatever that is. Maybe in the ensuing years she succeeded. But at the airport gateway, she gave no awareness of the actual struggle ahead. I, for one, cannot wait for the perfect space to appear. Rather, I’ve settled in to work where I could and then plugged away, between sleeping and the commute to my paying job.

CANDY COLLECTORS

~ Jnana Hodson ~ 3 Comments

Getting ready for the trick-or-treaters tonight means bringing the box of decorations down from the loft of the barn, perhaps carving a jack o’ lantern or two, putting up some spooky lights, and making sure we have bags of candy ready for the kids who come knocking on our door between 5 and 8 p.m. (Dover’s officially sanctioned window).

For readers in other countries, I should perhaps explain America’s Halloween tradition of allowing children to go door to door, knocking or ringing the doorbell, and then calling out “trick or treat” and receiving a sweet morsel in return. In the old days, there was the veiled threat, “or else,” which often led to a prank like having your windows soaped – or worse. These days, it’s often a matter of having any pumpkins left out being smashed in the middle of the night, regardless of your good acts.

Over the years, though, the event’s lost a lot of its edge.

For one thing, as a result of tales about razorblades being found in apples and other urban myths, only commercially prepared and sealed products are acceptable as handouts – no more apples, little bags of homemade caramelized popcorn or cookies, or (my favorite) Rice Crispies squares. It’s almost universally little candy bars, door after door. Gone’s the wide variety you’d compare at the end of the evening. Of course, most kids get candy throughout the year, so it’s no longer the Other Christmas when it came to rare sweets.

For another, concerns about safety mean it’s rarer to allow children to roam on their own. In our neighborhood, at least, almost everyone’s accompanied by a parent – and many of them have better costumes than the kids. For that matter, they often seem to be enjoying it more, too.

The safety issue has led to some weird twists of its own. Manchester, for instance, moved the event to Sunday afternoon – broad daylight. As one neighbor kid at the time observed, how lame! There’s nothing spooky in that! And then there’s the going store to store in the malls. Even lamer.

The one vexing situation is the car that cruises slowly while their children go door to door. Get out and walk, please! You’re being asocial. Usually, these are people who don’t even live in the neighborhood but have chosen to live out in the country, “away from neighbors.” And now they want what they don’t offer in return.

I remember, especially, living in a neighborhood of modest townhouse rentals and seeing the BMWs and Mercedes cruising through. Nobody in the neighborhood could afford vehicles like those, and now we were expected to give their kids little gifts?

I had the urge for a little tricking on my own in return. If I only had a plan …

JUST THE NORMAL WHIRLWIND

~ Jnana Hodson ~ 2 Comments

A comment from my sister got me thinking. “Sounds like you have a complicated life,” as I recall. Or maybe it was a “complex” life, as if there’s a difference.

My initial reaction was that my schedule’s always been that way, a balancing act of job, relationships, literary endeavors, spiritual practice, outdoors activities, personal care, and so on – sometimes more successfully than others, perhaps, and sometimes better integrated rather than segmented into less than harmonious compartments. And that’s even before we get to the piles and files.

Not that I think my situation’s unique. As I’ve asked before, “Do we ever get caught up?” Often, wondering how other people do it, seemingly so much better, at that, I’m left in awe.

Even so, Sis’ quip had me reviewing the itinerary for the past month or so.

There was painting the front of the barn and one side of the kitchen el, both of them flaking from their facing the direction that our nor’easters blast in from. Glad I got that project done before wet weather and early cold kicked in. (I could go off on a rant, though, about the complications of getting the right replacement paint, a consequence of one brand playing hardball with its dealers and leading to one more coat than I intended.)

Still, there’s something about working outdoors on a crisp autumn morning. As I was moving a ladder into place, I looked up to see a bald eagle circling low over a neighbor’s treetops. Each round, backlit by the sun, the tail would flash white and then, a half-revolution later, the head. The next morning, an eagle circled high overhead. And then there’s the honking of the geese and their checkmark formations above me.

Outdoors also includes a host of garden-related projects in a race before the first killing freeze and, a bit later, deep cold and snow kick in. I see now I haven’t blogged much about the garden over the summer, at least since the groundhog invasion, but I did capture two of the varmints and relocated them to another state and the third finally moved on in its own time. In defrosting a freezer the other day, my wife was surprised by the amount of strawberries, raspberries, and blueberries we put up, along with the green beans and peas.

For now, we’re wrapping up the last of the tomatoes (Juliette’s been our workhorse out of our dozen-plus varieties), roasting them down to something that resembles sundried and then freezing them. And the eggplant gets a similar treatment.

The way the bounty of produce cooks down so much continues to amaze. A full pot of tomatoes, for instance, can reduce to a few cups of soup. How has humanity ever survived?

We’ll soon observe something similar with the kale.

In the meantime, I’ve been a bit hampered by something the doctor tentatively diagnosed as either plantar fascitis or a bruised heel bone, which requires icing and hampers my mobility while it (uh) slowly heals.

My Quaker activities, meanwhile, have included committee sessions in central Maine and on Cape Ann in Massachusetts, plus clerking a wedding and our Meeting’s first-time booth at the city’s annual Apple Harvest Day festival – and each event could be a story in itself.

One pleasant break came in the all-too-short visit of my old roommate from after college – our first time together in nearly four decades (ouch!) and a delightful introduction to his “new” wife of 25 years. (OK, we lost touch for a number of those, but the Internet’s been great for reconnections.) He may have lost his natural ‘fro, but his twinkling blue eyes and goofy humor are as sharp as ever. Again, this could be a story in itself.

The choir, meanwhile, is back in gear with weekly rehearsals that have become my regular outings to the big city. We’re excited to be preparing for performances in Boston’s Copley Square and Faneuil Hall at the end of November, which now looms closer than I’d like.

As for the writing? Well? Never enough to keep up.

No wonder I’m feeling a lack of balance or even focus. After all those years of wondering what “retirement” would be like, I’m still, uh, puzzled.

COMPOSING A REQUIEM

~ Jnana Hodson ~ Leave a comment

When I first drafted this novel three decades ago, little did I expect it to be a requiem for a profession I’ve loved and served all my life. Now, though, as the history has unfolded, I’m left hoping against hope it’s not a requiem for community after community across America as well. Read it and weep – yet laughing along the way. We are, after all, still a resourceful people

 ~*~

Hometown_NewsTo find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

 

THE RELIGIOUS TWIST

~ Jnana Hodson ~ Leave a comment

While my personal struggle bobbled between practicality and art for its own sake, the yoga and Quaker teachings introduced new tensions. Consider:

Creativity? No, God creates. Man discovers. Man cultivates and brings culture and learning, nurtures, softens, establishes coherence. This is the difference between the artist who submits to a greater power and the one who tries to use it for his own ends. The first desires to serve God, by whatever name or description; the second, his or her own ego.

Which leads to: Problems of the ego. Gertie Stein: Every writer wants to be told how good he is, how good he is, how good he is. Insecurities!

Yet in yoga, all for God: the sacrifice, the labor gifted to generate good karma. (As if your boss is another deity, rather than bottom-line motivated and conscious. Here’s a letter of commendation plus your pink slip.)

Early church father Tertullian warned, in De Spectaculis, Latin circa 200 C.E. Essentially: “The Author of truth loves no falsehood: all that is feigned is adultery in His sight. The man who counterfeits voice, sex or age, who makes a show of false love, anger, sighs and tears He will not approve, for He condemns all hypocrisy. . . . Why should it be lawful to see what it is a crime to do?” (Translation by Kenneth Morse).

These are hard charges, along with the seduction of “preaching for sin,” as George Fox warned.

So to examine the multiplicity of personality / goals / desires. Just who am I? Who are you? Empathy. Anger. Bliss. All the rest.

Honesty. Our dark sides. Do we really express our weakest aspect in our art? (In vocal ministry, how often the message comes from that area of our current conflict!)

Versus becoming so rarified we lose all sense of joy and delight. The danger of Plainness or strictness, that it suffocates personality, makes us so humbled we cannot move forward in the Holy Spirit to perform bold action. Crushes or stifles the imagination.

So how do we make a living without violating our beliefs? (Military-industrial extensive penetration of all facets of American society: not even the universities immune.)

Or how do you practice your art to the fullest, without undue restraint, while still being faithful?

 

NEWSPRINT, PAPERBACKS, AND HARDBOUND VOLUMES

~ Jnana Hodson ~ 3 Comments

My entire life I’ve harbored a bias regarding quality in the world of writing. Even though I’ve long been a front-line journalist, I’ve believed the text in a hardbound, academic or commercially published book must somehow be superior to what’s presented in a newspaper.

For that matter, magazines were, in that measure, a degree above newspapers, but a step or two below either paperback or hardbound volumes.

In the past few years, though, that misconception has been shattered, in part because of conversations I have with one of America’s top literary voices and in part because of encounters with a host of other living authors of more mundane accomplishments.

Yes, we have every right to expect a work that requires a year or two to draft to be superior to reports written on the fly, but in some ways, that long work often turns out to be little more than a series of daily reports strung together. What turns up can be as formulaic as any pyramid-style news dispatch, and filled with more cliche and unchallenged bombast. Read carefully and you might notice a higher standard of editing in your daily paper.

What I now realize is that I had expected the books to be eternal monuments that would sit forever on public and private library shelves. I never expected them to be commodities with their own precariously short shelf life, with rare exceptions. Even public collections have only so much space and so much patience. Rarely do I find there a recommended piece I desire.

What this all comes down to is that reality that good writing is good writing, no matter the place it appears. That, in itself, is cause for celebration.

Now, for more on the newspaper dimension, there’s my Hometown News novel. Adding a further twist to this plot, though, is the fact it’s available only as an ebook.

Hometown News

VIEW FROM THE HAY DOOR

~ Jnana Hodson ~ 2 Comments

Through much of the summer, the sun on the barn roof makes it difficult for anyone to spend much time in the loft, and later, the depths of winter add their own limitations. But there are stretches of spring and autumn that can be heavenly when it comes to a time and place to retreat.

Yes, we’ve discussed remodeling the loft to make the space usable year-round, but frankly I rather like it as is, with all of its rustic charm.

My favorite moments often come in the afternoon as I call an early happy hour, pour myself a martini, and nestle into the papasan in front of the open hay door. The view over the garden or out either window at the ends of the barn can be delightful, and in many ways I feel I’m in a tree house. This fall I’ve been catching up on issues of The Paris Review and a host of symphonic tapes, so it can even feel uplifting.

As we slip into the second half of autumn, though, I’m all too aware this pleasure’s about to come to a close again. Already we’ve had a few evenings of sitting in front of a wood fire and watching the flames dance.

Long ago I discovered how essential such seemingly short breaks are to my sanity. And then it’s full-bore back into the vortex.

WHERE’S THE BUSINESS MODEL?

~ Jnana Hodson ~ 3 Comments

Newspapers have long run on a peculiar business model.

People buy the paper mostly for the news, but what they pay for the product covers only a fraction of the actual cost. Traditionally, advertising generated the other 80 to 90 percent.

That imbalance always resulted in an inherent tension in the executive offices, where any expenditure for news coverage was viewed with suspicion, especially when few of the publishers – the top local executive – came from the news-gathering side.

The rest of the operation included the composing room and related departments that manufactured the actual pages that then went to the presses, plus the “mail room” where supplements were inserted and the bundles were arranged for distribution, the circulation department, and then the ad sales reps, accounting, community services/promotion, and human resources. Especially accounting. In more recent decades, the computer techs assumed their own role.

For a bit of perspective, go to a store and buy an artist’s newsprint sketchpad and then compare its cost and the amount of paper against what the typical paper carries. You’ll see what a bargain the daily paper has been. What you pay for the news essentially covers the cost of getting it from the end of the press to the place you read it.

So this is how things ran until the Internet came along. And then, for a host of reasons, publishers began putting websites up and readers began getting the news without having to view any of the surrounding advertisements that were paying the bills. That, in itself, was a recipe for disaster.

Curiously, long before the arrival of the Internet, I’d noticed that what the readers paid for a paper would be sufficient to staff a newsroom and its supporting services. Leap ahead, and you can see that if users would pay for their local news online, you could create journalism that would not have the advertisers lurking in the corners. Unfortunately, online users have become spoiled and rarely pay for anything. Attempts at firewalls, as we’ve seen, have also failed.

At the moment, the future of American journalism looks grim. And that’s bad news for our political structure and the lives of our communities themselves.

~*~

Hometown News

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

MAX RUDOLF (AND JAMES LEVINE)

~ Jnana Hodson ~ 1 Comment

The cult of celebrity continues to baffle me. The mass-media fascination with people who are famous for being famous draws none of my interest except, maybe, for a few who are simply breathtakingly gorgeous – the ones, I should add, whose words and actions aren’t completely repugnant. As you might guess, the photos are worth far more than any accompanying text.

OK, I’ll push the blame away from mass media and on to the audience that prefers celebrities to real reality. (Not to be confused with “reality television.”)

To see this outlook at work, we can extend the People magazine and supermarket tabloid spotlight beyond the realms of Hollywood and Nashville, high-level fashion models and designers, professional athletes, monarchy, and rock stars.

In the publishing industry, for instance, we have “bestselling author.” At least there’s an accomplishment to back up the fame, regardless of quality. The recognition level, let’s be honest, will be lower than in the aforesaid big-money glamor fields. But my guess is that these aren’t the writers who are high up on your own list of favorites, either. For that matter, few who make it to the bestseller list ever gain that widespread recognition. No, we are far from the days of Hemingway, Faulkner, Steinbeck, Thomas Wolfe, Mitchner, Sandberg, or Frost in the eyes of the general public.

Likewise, in classical music or opera, where fame is a crucial component of box-office appeal, we’re far from the era when having “Sol Hurok presents” as part of an artist’s credentials spelled a degree of celebrity. Hurok was an artist manager who handled all of the big names, or so he made the world believe. But the cult of celebrity still plays a role, as Yo-Yo Ma, Renee Fleming, and Lang Lang demonstrate. (Note, though, that by now we need both first and last names.) And, we should acknowledge, you don’t get there without talent.

All of this, though, is by way of introducing my favorite conductor ever: Max Rudolf (1902-1995).

As another former Metropolitan Opera conductor once told me, “Rudolf could have been as famous as Leonard Bernstein, if he had wanted it.” Obviously, he didn’t.

What impressed me – and continues to impress – is that what he really wanted was to make music of the very highest level and to nurture that tradition. This could follow a much different route than mere celebrity, even in the arts.

At the time, Rudolf was music director of the Cincinnati Symphony, which he headed for 13 years.

To be honest, the first time I heard the ensemble, I was not impressed. It was on a road trip to Dayton, and Rudolf was pushing for rhythmic precision at a time when I wanted plush sonic, well, uprisings of bombast. Only later did I comprehend what he was instilling – a unity of perfection of structure and meaning.

He offered his players precise, expressive, often restrained gestures and obtained “maximum results with minimal effort,” as I think one critic observed. Unlike the over-the-top dramatic Bernstein, I should add. What I now see is that the gravity of playing was somewhere back in the orchestra, rather than focused on the podium. In other words, despite all of his Germanic authoritarian roots, something organic was happening. And, as I would see, they played as one – more than some of the famed soloists I’ve heard.

His lineage runs back to the opera at Prague, where he worked under George Szell, and ran to the Metropolitan Opera, where he wound up as administrative assistant to Rudolf Bing. (Two abrasive personalities, from all we’ve heard.)

When he accepted the Cincinnati post, others had cautioned him not to go. “You’re making a name for yourself here in New York. You’ll give that up if you leave.”

Thankfully, he followed his heart, and classical music has been all the richer.

One of the things I remember is the amber sound he developed, not just in Cincinnati but in some of his other recordings as well – the Metropolitan Opera and even Italy.

As one of this first-chair players once told me, his mantra was, “First it must be in time.” And then the rest could follow. The trills, for example, as miniature roller coasters rather than flutters.

The former first cellist told me he received eight coaching sessions a week as a young player. How remarkable!

Even in the recordings, I still marvel at the entire ensemble playing with more unity than some soloists I’ve heard. If the Cleveland Orchestra was the Rolls-Royce, then Cincinnati was a Ferrari … fast, tight cornering.

He once lamented to a reporter that, at the time, the Cincinnati audience did not appreciate Mozart. He was one of the greatest Mozart conductors, ever.

And then there were his discoveries, beginning with Erich Kunzel and James Levine, who achieves some of the sound I associate with Rudolf.

There is, after all, a theory that your ideal orchestral sound is the one of the first great orchestra you heard. For me – and I believe, Levine – that’s Cincinnati.

Unfortunately, Rudolf came down with hepatitis, blamed on seafood during his summer in Maine, and that cut short one season and more. In his place came the Michigan native Thomas Schippers, assuming his first and, lamentably, only orchestral leadership post. As Time magazine lamented, the operatic master Schippers could not take over the Metropolitan Opera when the opening occurred because he was tied down in Cincinnati. And then, all too early, both Schippers (an addicted smoker) and his wife died of cancer. He was 47.

I can only assume Rudolf had been somewhere in the background pushing for Schippers’ appointment, and no doubt did the same in getting the young James Levine a position in Cleveland under Szell.

Rudolf went on, in part at his friend Rudolf Serkin’s urging, to create an opera program at the Curtis Institute in Philadelphia, and then a conductor’s program there. Among his prodigies on the podium are Robert Spano, Michael Stern, and Paavo Jarvi, who later spent a decade at the helm in Cincinnati.

~*~

Back now to James Levine, who went on to the top of the conducting world. The story I want to hear is what role Rudolf had behind the scenes. In Levine’s music-making, I hear Rudolf as well – the sound of the musicians making music together (a center of gravity back in the band, not simply at the podium). And the warmth, that amber sound in the strings I so admire.

Levine more or less moved into Rudolf’s earlier role at the Met, but then he expanded it all into his own. Aficionados can argue all they want, but both Rudolf and Levine will probably wind up in the top two dozen opera conductors ever.

Just as Rudolf did in Cincinnati, Levine later restored the Boston Symphony to its glory. Its sister band, the Boston Pops, had its own Rudolf legacy – Keith Lockhart, who came by way of Kunzel, that former Rudolf assistant.

I hate to think what might have been lost if Rudolf had followed the advice not to go to Ohio. Could he have exerted the same influence in Manhattan? I doubt anyone could.