AFTER THE TRAGEDY

Here in New England, the battle for control of the Market Basket supermarkets remains the biggest news story – but with a storybook twist. Rather than ending up as another soulless corporate bottom-line victim, there’s been a resurrection.

The bitter DeMoulas family feud finally led to an agreement less than a week ago in which the Good Guy (aka Arthur T) buys out the other half for roughly $1.5 billion. Ownership stays here at home. And, yes, there have been cheers all around in this remarkable alliance of stakeholders – managers, workers, loyal shoppers, and their communities – against the faction that fired the Good Guy and his visionary leadership.

The boycott held through August. The parking lots were vacant. Workers saw their hours cut. Some managers were fired … and now they’re back.

There’s almost a party atmosphere in the stores, but nobody’s slacking. Managers began showing up to work at midnight just an hour after reports of the agreement surfaced. Suppliers offered to deliver goods directly to the stores, rather than the distribution center, to speed the restocking of depleted shelves.

Many details remain to be ironed out, and a lot of damage will take time to repair. But at least there’s also a rainbow.

SABBATICAL LESSONS

As I said at the time …

When I was 38, several developments occurred in a way that allowed me to give myself a year of unemployment, drawing largely on savings. Rather than travel the world or undertake some related activity, I hunkered down in a writing spree [that resulted in the novels now (finally) being published]. The sabbatical meant that for the first time in my life, I had a period of uninterrupted concentration on this work. The writing itself. Three fast novels, now to be revised, and thud! skidding to a crash or whatever. Enough to expand to a dozen, in the hours of revision after I went back to the paying work. Looking back, I know it had to be done. And done then.

Nevertheless, in my struggle between practicality and art, there’s been a longstanding sense of guilt in spending time on myself. To my surprise, a resolution came through a workshop on prayer, when we were divided into smaller groups and then asked to write out a prayer request. Not for what others might need or a social issue, but for something we needed individually. “Ask for something for yourself,” which the others would then pray for.

Of course, each of us works differently. I’m not one for the blank sheet writer’s block syndrome: I’m usually springing from notes jotted down earlier. (Pacing is another matter: just where is this going? And why?)

In contrast, I recall a poet friend who was also a public school teacher; he was quite prolific during the busy school year, yet during the summer, could produce little, though he could never quite figure out why. (He could also stare at a piece of paper for five hours and then turn out a sharply focused gem.) The other friend, having all the leisure in the world, could produce only disconnected flashes. Could it be some juggling or resistance is also essential to the practice?

ATTUNED TO THE PULSING

Back in the late ’70s I attended a weeklong interdisciplinary conference at Fort Warden State Park on Washington’s Olympic Peninsula, an event that remains a potent influence on my work and thinking. Organized by Sam Hamill, then of Copper Canyon Press, the Power of Animals seminar spanned biology, literature, anthropology, mythology, and more. Presenters included the writers Barry Lopez, Gary Snyder, Howard Norman (then just the author of a chapbook of poems called Born Tying Knots), David Lee, and an equally impressive slate of zoologists and botanists in an interdisciplinary examination of the dimensions of the animal kingdom. One highlight was a stage production from Reed College that relived some of the glorious Coyote tales of the Pacific Northwest.

In a Heartbeat

Now, with the release of my chapbook In a Heartbeat from Barometric Pressures at Kind of a Hurricane Press, I hope to return the favor. This set of poems runs playfully with wild and domestic animals of all sizes and influences as they impact our lives in real and imaginary ways.

To join in, simply click here. And remember, it’s free.

WATER SIGN OR ELSE

It’s hard to think 17 years have gone by since this correspondence! As I said at the time …

Your first letter had me repeating to myself, “She has to be a water sign — or at least have a lot of water influence prominent in her chart.” Now you blithely inform me you’re a Pisces. Ah-ha! Figures! Could that be why you’re so alive in your emotions, as astro-informed friends from my past would insist? (For Aquarian me, meanwhile, aloft in encyclopedic data and logical constructs, staying alert to my own emotions can be a real challenge — especially when retreating into my brainiac self became my way of surviving some pretty intense emotional abuse way back when.) So, in some wonderful ways you help me tap dance into some chambers  of my soul. (Molto grazie!) As for the writing skills: do the nuns at dreaded Mother Theodore Guerin get any credit? (Mother … Theodore? And I doubted your age?)

And you wish you look older? Na-na-na-na! Listen to Swami Jnana, kiddo. Do you have any idea how … thoughtful you appear in that photo? It doesn’t get any better than that. Why can’t any of the women I know/have known appreciate being they way they are — which inevitably is much, much lovelier than they presume. (Assignment for future edition, probably when you’re ensconced in that high suite overlooking the Loop and Lake Michigan — I know that view, having been in Jeff MacNally’s eerie in the Chicago Tribune tower a time or two: interview Cindy, Nicky, Cristy, and the rest of the supermodel cult and see if you can find anyone truly satisfied with her looks; bet, deep down, they aren’t.) Ergo: enjoy your current condition while you can. (And may that be for a long, long time!) Most women I know would kill to have the body or the looks of an eighteen-year-old, or so they say. You have the rest of your life to look older. (And may you age gracefully, like Sophia Loren or Joan Collins.) Maybe it’s not really a matter of age, after all, but of self-confidence. Those who are radiant, no matter what, versus those who are wrapped up in their misery. Watcha think?

As for feeling one’s chronological age, you’re an excellent writer: that automatically makes you middle-age. (I know: part of me’s always felt old, too. Maybe it’s just ancient soul.) (My age, by the way, is ninety-two.) But, because you’re an artist, you’re also going to have to find ways of remaining fourteen or fifteen forever. I wouldn’t recommend adult orthodontics as a strategy, although it is an interesting trip and seems to be an good way to open conversations I wouldn’t otherwise have. (And you said something about rambling? Heavens!)

So here I’m looking through some Diane Wakoski volumes for a great insight on adolescence and find instead: “My search for the perfect man, the perfect love, Romance, sexual life, has always been emblematic of my search for something else, you know. In Pretty in Pink, a wonderful character played by an actress who must be thirty but still looks like she’s eighteen, the wise older woman in the film is nostalgically wearing her old high school prom dress and dancing to some golden oldie with the star of the movie (Molly Ringwald) and she says, ‘Wouldn’t it be wonderful if we could start old and get younger every year?’ I recall my elders always saying that ‘youth is wasted on the young’ … “

I very much enjoyed both the batch of poems you sent along. Do you write as effortlessly as it appears? You have some real knock-‘em-dead connections here: “sometimes she’s a ballerina/hanging by her neck/from the rafters/of some wretched dollhouse//sometimes she’s a little girl/with treasure chest eyes/and a bowl-of-pudding smile” is astonishing. Brava, brava, brava! (Envy, envy, envy!) Ditto: “the sky is pink lemonade.” And the line, “trees singing,” keeps triggering to my ears Isaiah 55:12b, “and all the trees of the countryside clap their hands.”

I, too, prefer direct language — although in my writing, it sometimes seems that by creating a deliberate short-circuit, I’m more able to get down into that painful raw nerve you talk about. I wonder if some of the “trying to hide behind huge words and flowery language” you object to (rightfully so) has more to do with a lack of a real emotional underpinning/experience. A few days before your big package arrived, I received two hardbound prize-winning volumes by those “professional poets” we’ve already defined—and I found myself annoyed. You’re right: there is a lot of hiding going on. And it feels like WORK, both the creation and the reading of it.

Then your latest edition came, and I found myself often laughing aloud with delight, because the pieces were coming from another place in the psyche. (Pieces I checkmarked: “Dead Horse,” “Yes, There Still Are Some Good Ones,” “Sam I Ain’t,” “I read a book about a woman …,” “Sardines,” “The Painkiller,” [hey, is that true about the Walibri???], your centerfold [sick! heh-heh!], your on-going adventures [really fine line: “my feathers are slowly being replaced by rocks … being covered by cold, gray cement”] — and the insights in the paragraph beginning, “i have always been on another planet.”

Please, please, please, send a copy of your chapbook. (What a marvelous title — I can almost taste it. A turnabout on Psalm 34, “O taste and see,” which Denise Levertov uses as a title for a wonderful collection of her own poems — so delicious it opens your eyes.) Watercolor nights, what a vivid linkage, almost a micropoem itself … softness, yet I wonder if night scenes can be done in watercolors: now you make me ask a watercolorist I know.

Was kinda curious about where your neighborhood is — thought maybe it was around Hyde Park, or some other brainy neighborhood. Was surprised to find it on my road atlas as being out toward Mother O’Hare instead. So I asked my boss, who says he’s spent a lot of time in Chi’town (he’s from western Michigan), and he said he thought it was mostly duplexes and bungalows out that way. And then Sunday night I was zoned out in front of the tube, not quite watching some dumb detective story set in Your Fair City, and there they went, ripping onto — you guessed it, your fair street, which may have been filled with some fair number of criminals by then or a fairly high-speed chase. Is life weird or what? Looked like ‘50s ranch houses, mostly. Some trees. Short front yards. Many bathtub Madonnas? (Couldn’t tell.)

I’ve done a lot of travel on maps. Some places I’ve never been I seem to know better than some people do who have actually been there. As Howard McCord has written: “A chest of maps/is a greater legacy/than a case of whisky.//My father left me both.” Another quote: “or what my father said/‘go along the coast as far as/you can without getting killed’/my saint is Hsuan-tsang/who got    _  back.”

Well, hope you’re still enjoying that big old Dodge Diplomat (go along as far as you can and then come back). Assume college has started. Took me three-and-a-half years to figure out how they rig the game against you: the moment you walk into a classroom, you’re already a hundred pages behind. (Wright College? I went to Wright State University, then transferred to Indiana University in Bloomington.)

So here’s to a rewarding and eccentric friendship. None of my other editors get long letters like this. Actually, they’re lucky to get cover letters. But then, they rarely reply with more than a marginal scrawl, either. I wish I were having as much fun with the newspaper as you’re having with Indigo, but, hey, we don’t have centerfolds, either.

Good thoughts to you, always.

Your midnight rambler.

NATURALLY, AT LAST

The Barometric Pressures author series at Kind of a Hurricane Press has just published In a Heartbeat, a set of 20 of my poems arising in the animal kingdom. As you can imagine, I’m delighted. Let me roar and crow, if you will.

The set occupies a much different tone and style of my writing from what you’ve previously seen. It ranges from television cartoon characters to ancient mythology as it traces our interplay with our fellow animals across the earth, under the sea, into the air, and throughout our imaginations.

Here's the cover.
Here’s the cover.

This 35-page echapbook is available free from the Barometric Pressures author series at Kind of a Hurricane Press.

If you decide to print yours out, you might even want to select a fancy paper to make your copy unique.

Let me add, that way I’ll be even happier to autograph yours when we meet. But first, for your copy, click here.

SAGEBRUSH AS A STATEMENT

The diamond hitch is a top-of-the-line knot, especially useful in cowboy, mining, or logging country – or, as I apply it, the desert foothills of Washington state found east of the Cascade mountains. Forefront in my related set of poems is the unspoken recognition of diamond hitch as marriage, with its implied images of diamond ring and getting hitched. In the background, also unvoiced, is the diamond symbol of the clear and enduring heart – further extended to intense spiritual quest, as The Diamond Sutra (Vajrachchedika in Sanskrit) demonstrates, found also in the Buddhist linkage of diamond to Dharma. In addition to serving as an emblem for the open range of the American Far West, sagebrush, moreover, suggests wisdom, spice, even the Burning Bush of Moses – the profound influence desert has upheld for prophets and mystics over the millennia.

SUCH DIFFERENCES

As I said at the time …

Finally, observing the banner in the background of the thirty-fifth reunion pictures, my wife finally connected a date she’d long known with her own experience: “When you were all graduating, I was being potty trained.”

I wonder what I would tell them, given the chance. I’m not judging them, as much as judging myself and all of the intervening years. The long journey to here. I’m not gloating that I have a younger wife, one who’s only a few years older than some of their own children; besides, that wouldn’t have been the case, had my first marriage not failed. I’m finally experiencing the challenges and joys of parenting, while they already have grandchildren – on that front, maybe they really are much older. See, I am envious of those still married to their spouse right out of high school. They took the straight path and got down to business. In contrast, many lonely nights and a sequence of transitory relationships have been my alternative. I think how innocent I was (ignorant is the more accurate term, actually), especially on matters of sex. In the intervening years, even after I realized that certain girls had gone away because they were pregnant or certain guys were homosexual, I simply couldn’t admit that any of us were actually having, gulp, intercourse. Although, years later, looking at the homecoming court photos in the yearbook, the realization flashed upon me, from one’s smile, that she must have recently become sexually active.

Which leads me to the goddesses. The beauties I both idealized and gazed at with masked lust, wondering how the soft touch would feel, how the naked body would look, how two people actually connect. The ones who left me speechless. The ones who were, in many ways, in a league other than the one I inhabited. To my eyes, they were miraculous and mysterious, invested with secret knowledge and magical powers, with taste, social graces, and high style – no matter how middle-class we were or the fact that our conversations rarely went any deeper than howdy. The reunion photos, then, confirm my fears – that goddesses may become hags – yes, mortal, even grotesque. And yet, to my surprise, some have become more beautiful than ever. How can this be? If we could only return, however briefly, for candid discourse, to uncover what thoughts, feelings, and actions lurked behind those Mona Lisa facades, both then and in the subsequent years. Not superficial conversation, but blunt disclosures. Now, however, sifting through the reunion photos, I soon calculate how few of these goddesses attended – which leads to further speculation. To my eye, they were the essence of what Hollywood starlets aspire to represent. Unlike any mythology, however, few remain in any Olympus. Instead, I must confront a youth culture that offered little wisdom.

I must leave it to the girls-turned-to-women to speak of the Adonis club and its deterioration. Besides, I was never a member. On the other hand, I’ve sometimes quipped that if I could do it all over again, I would have hung out with the greasers – that they had what I was lacking. As if they would have had me! Or am I only imagining they had fun in their tweaking of authority?

To reenter those years also means admitting shame, embarrassment, and guilt. I’m not the golden boy my mother expected, or the great talent my youth pastor counseled. For that matter, it’s been many years since I could tie my hair back in a ponytail or part it down the middle. Since I had a beer bottle tossed at me at a party. As I’ve said, it’s been a long road from there to here.

One soon approaching what will be a fiftieth anniversary reunion, if it happens.

ST. LOUIS AND CIVILIZATION

As I said at the time …

We share a debt of gratitude to your grandmother, who has spent many hours assembling a remarkable gift for you – a knowledge of your ancestors. I hope you will come to treasure her findings, and the love she has put into this project.

Through Eide Henry Hopke, you and I also share a common bond, although our legacy from him varies in one crucial aspect. For you, he provides not only your surname, but also some distinctive DNA strands that come only through the male line. For me, he is part of a maternal genetic mix that is ever-expanding, the further back we go. (For example, while Eide Henry is one of my sixteen great-great-great-grandfathers, only George Hodgin carries the equivalent DNA strands for me; Eide Henry’s endowment, meanwhile, comes down through my mother’s father’s mother’s mother, in a bit of a zig-zag path.)

I hope you won’t look at your genealogy simply as a long list of names and dates – a sort of variation on the Biblical begats. (That’s not to deny the frustration and pleasure that goes into the investigative digging and puzzle-solving involved along the way of gathering these details.) Rather, the power comes in building the story of these seemingly common people and the ways they addressed their time in history and the places they dwelled. Researchers who try to connect their ancestry to ancient royalty or who stop the moment they find an ancestor hanged as a horse thief need to rethink their vision. In this venture we need to accept the facts, good or bad, in their full truth; what we eventually have is a personal history, one that will often stand at some distance from the one taught in schoolrooms or give us some insight into a greater framework. As you read historical accounts, you may find that through these ancestors, you, too, are in their time and place. Oh, yes, and as stories go, genealogies can turn up the most unexpected twists. For instance, the first of my Hodson surname ancestors in America arrived as the only surviving family member after their ship had been captured by French privateers (pirates); his great-grandson, a miller, owned a gold mine in North Carolina; and, on my dad’s side, all of my ancestors until the Second World War were staunch pacifists in their religious principles – I knew none of this when I was growing up.

On my mother’s side, Eide Henry emerges as a remarkable figure. Maybe you’ll be the one to figure out how he arrived in the New World, whether he came alone or with family, how he paid for his journey, or what led him to St. Louis; there are certainly many details to fill in about his life, and every answer seems to produce more questions. But what we already can sketch from the facts at hand point to an enterprising character who adapted himself well to his new surroundings. While we don’t know for certain what prompted him to leave Prussia, we can imagine the values the place instilled in him – truthfulness, modesty, self-control, and loyalty, in the words of Peter F. Drucker. “This Prussia had been a military state” and “was not educated, let alone cultured; but it was pious, with a narrow and sentimental Lutheranism,” Drucker notes, including an observation credited to Bismarck “that the Germans require a father figure, and that they will fall victim to a tyrant unless they have a legitimate and lawful king.” (From “The Man Who Invented Kissinger” in Adventures of a Bystander.) We can ask ourselves how much of this played out in Eide Henry’s life – in his decision to serve in the Mexican-American War, for instance, or in naming sons during the Civil War Robert Lee Hopke and Jefferson D. Hopke. This, despite the reported universal opposition to slavery by the German population in St. Louis during this period. (As you grow older, you may come to realize how often our values conflict or how much ambiguity arises in daily life; black-and-white decisions seem to be far rarer than we’d like.) We can also imagine that Eide Henry knew sorrow, in the death of his first wife or young children, and perhaps in the separation from his homeland. He must have known loneliness, too, in those times when he lived apart from his family in order to earn an income. We can look at the portrait your grandmother has collected and see all of these things in his face.

He also opens us to the pervasiveness of German civilization on American life, something that World War I erased from public awareness. Actually, I can speak of two major streams of German influence, the first being what we would consider Pennsylvania Dutch and including the Anabaptist traditions most visible now among the Amish, and a second, which settled largely in Midwestern cities and carried a deep sense of “good living,” meaning learning and progress. Eide Henry would have been part of that second movement, while many of my father’s ancestors were part of the first.

Sometimes we will glean background for our story from the most unexpectedly sources. One of my wife’s favorite books, for instance, is Stand Facing the Stove: The Story of the Women Who Gave America “The Joy of Cooking.” While Anne Mendelson is writing about her mother and grandmother, her opening chapter examines “The Golden Age of St. Louis,” which did “indeed – at least in a brief and glorious interval after the Civil War – seem one of the finest spots on earth to dwell … “ She then turns to Lebenskunstler, “as untranslatable as any word in the German language, which is saying a good deal. It implies a civilized command of living as an art form like singing or painting. German-English dictionaries lamely offer explanations like ‘one who appreciates the finer things in life.’ ‘Life artist’ is the baldly literal rendering, and perhaps as good as any.” Mendelson then goes to present the story of her genealogy in a thoroughly engaging manner, one that can be seen as a model for this enterprise. What interests us most, however, is the points where it overlaps on our own story. For instance, she mentions “Thousands of poor Irish had also come to the region, especially after the potato famine of 1845-46. They competed for work as laborers, artisans, and servants with large numbers of Germans fleeing comparable poverty.” And then she notes “a very different community brought by the abortive stirrings of liberal German nationalism after 1830 and more markedly 1848. They were articulate professionals, or sometimes minor nobility, who rejoiced in a particularly German marriage of cultural ideals, consciously enlightened convictions, and creature comforts.” At this point, it seems more likely that Eide Henry was one of those “fleeing comparable poverty,” yet he still would have been part of that mixture of German life in the city, with its “life artist” influence. While my mother probably had no idea of her Hopke ancestry, she always spoke of St. Louis in almost reverential tones; meanwhile, her mother – who married a Hopke descendant – strikes me as one who hungered for that “life artist” ideal, even though she had not been born into it.

Maybe you forget that St. Louis was once the largest and most important city west of the Appalachian mountains, after supplanting Cincinnati for the honor. Chicago took the lead only later. By 1860, Mendleson writes, St. Louis “had a population of nearly 161,000, and supported a small handful of theaters and a large handful of music societies (well populated with Germans), a library, the new St. Louis Academy of Sciences, Washington University, several foundries, the Pacific Railroad (stretching a magnificent 176 miles westward), a noisy range of political opinions, and sundry German- and English-language newspapers.”

She relates that a “traveler reaching St. Louis by steamer saw first the broad man-made plateau of city levees, swarming with teamsters’ wagons and lined with warehouses. The land rose to a modified grid of streets, orderly enough on paper but at most seasons of the year fed by an inexhaustible supply of mud reputed not to differ greatly from the St. Louis drinking water.” As a teamster, Eide Henry may well have been one of those with a wagon waiting at the wharf; we can imagine, too, what he said of the water.

Much of what I know about Eide Henry is thanks to your grandmother’s generous sharing of material she’s gathered for you. Along the way, she has also filled in large gaps in my knowledge of Eide Henry’s son-in-law, David W. Ward, and even my Munro ancestors from Scotland – all of which somehow come together in Pike County, Missouri, in what can be seen as the northern shadow of St. Louis. None of these people are among her own bloodlines, either, yet she has been faithful to the larger task of bringing their lives to the light.

How it all comes together is largely up to us. Jeremy, I hope you find much in this legacy that will inspire you, add perspective to your own life decisions, and give you an appreciation for the blessings we have because of their efforts.

I’ve spoken of Eide Henry as a remarkable character. I think we can add Patsy Lynn to that list, as well.

Best wishes in all you undertake, Cousin.

TRULY CORRESPONDENCE

A while back, while reading a selection of letters by the itinerant Quaker minister Elias Hicks (1748-1830), I was impressed by the length and quality of some of the individual correspondence. These were pieces that could have been published essays, yet were addressed to a specific individual – pieces, I should add, from a farmer by trade.

I’m left wondering about the amount of time some Friends (and others, of course) spent daily or weekly in reading and writing as well as reflecting on the issues at hand.

Don’t tell me it was a slower era or that they had more time to employ – labor was more demanding and often tedious, after all. I think something else is at play here.

As I said, I’m impressed.