Acid test novelist: Ishmael Reed (1938- )

Assigned as part of a contemporary novels course in the spring of 1970, Yellow Back Radio Broke-Down was unlike anything I had previously encountered. The lively tone and style were a kind of pre-rap, I suppose, as were the content. He was amusing in a way Leroi Jones wasn’t and also an example that we can be free of having to “write like cultivated Englishmen of a century or more ago,” as Kurt Vonnegut put it.

He certainly introduced a new world to my essentially suburban Midwestern nature.

Reed was, as critic Anita Felicelli wrote of a later novel, a firebrand, crackling, overflowing, pugnacious, “someone who doesn’t care about genre boundaries any more than he cares about historical boundaries, but who does care deeply about innovating.” In other words, right up my alley.

The novel Mumbo Jumbo confirmed my impression, but, somehow, I haven’t encountered him since, even though he’s written and published prolifically. Note to self: Rectify ASAP.

Acid test mystic: Isaac Penington (1616-1679)

Unlike many of the early Quaker voices, Penington was well educated and respectable, the eldest son of a Lord Mayor of London. He even became William Penn’s father-in-law. But his joining with Quakers led to harsh persecution, including imprisonment six times, as well as intense spiritual experiences he described in various writings, including his letters.

A critical reader will recognize that articulating what is ultimately non-physical or confirmable is a difficult challenge. What Penington achieves remains insightful, personal, yet universal. There’s nothing dogmatic or doctrinaire or theoretical or speculative, not when grounded in personal practice.

His style fascinates me, long sentences that coil around and around as they move toward a core. Pulling a short quotation from them proves difficult without losing the wider field of wonder. As an example, “Give over thine own willing, give over thy own running, give over thine own desiring to know or be anything and sink down to the seed which God sows in the heart, and let that grow in thee and be in thee and breathe in thee and act in thee; and thou shalt find by sweet experience that the Lord knows that and loves and owns that, and will lead it to the inheritance of Life, which is its portion.” Eighty words, in all – typical.

Somehow, I find myself contrasting him to the Muggletonian William Blake a century and a half later, who struggled with similar challenges for a much different result.

Acid test novelist: Gurney Norman (1937- )

Returning to Tom Wolfe’s charge that no great novel sprang from the hippie counterculture, it’s clear that he overlooked Divine Right’s Trip, which originally appeared in the margins of the Last Whole Earth Catalog. (Far out, indeed.)

Rather than taking place in any of the celebrated hippie havens, Norman’s pilgrim figure finds himself in Cincinnati, a largely redneck habitation I’ve heard described as a place of perpetual Lent, before heading on into the strip-mined mountains of eastern Kentucky. Yes, hippie did indeed take place in seemingly unlikely locales. It was also often drab and lonely. And then, as Norman illustrates, it also drew nurture from some very unlikely sources.

If anything, there’s widespread lament that Norman didn’t write more. Divine Right’s Trip is humbly beautiful.

Acid test poet: Greenleaf Whittier (1807-1892)

Whittier is a poet I’ve come to know largely through Dover, where his maternal grandparents and an uncle and cousins on his father’s side lived. His parents in fact, married in our Quaker meetinghouse.

His poems aren’t about himself but rather a greater faithfulness. While he’s self-effacing, many of his works are deeply felt political and social protests that remain biting and land on-target.

Despite the seeming simplicity of his rhyming form, his lines are sharp. When you read his poems, don’t stop at the end of the line but keep moving onward as a full-sentence thought. There you can breathe. Robert Frost follows in Whittier’s footsteps.

His poem, “How the Women Went from Dover,” commemorates an important event that appears in my Quaking Dover as well.

Acid test novelist: Grace Metalious (1924-1964)

One of my colleagues at the New Hampshire Sunday News insisted that Metalious was a much better writer than the tabloid image that plagued her and her notorious book.

After reading Peyton Place, I have to agree. The realities it exposed are no longer scandalous but widely acknowledged. The novel, meanwhile, is skillfully accomplished and hints at more that could have been accomplished under other conditions. She certainly understood the unspoken skeletons of northern New England as well as anyone else I could mention, and she took the risks of admitting the dark undercurrents of survival in a small town anywhere in the country.

Her personal life, on the other hand, is an American tragedy.

Acid test poet and essayist: Gary Snyder (1930- )

It’s pure coincidence that he should appear in this series on Earth Day, but it’s totally fitting.

The tumultuous spring of 1970, when the first Earth Day was observed, was also when I first saw someone sitting in deep meditation. The figure was in lotus position under a beech tree totally motionless for perhaps a half hour while I waited for my girlfriend at the street corner nearby. My inner reaction was hostile, wondering how anybody could withdraw from the world amid all of the conflict around us at the time. Only later did I put the events together – Gary Snyder, just back from years of Zen practice in Japan, was giving a reading on campus. I even admired some of his calligraphy in a display in the Student Union. And, as I would discover, he was a leading activist on progressive fronts.

About a year later, when I took up yoga and its meditation, I had already begun reading his poetry and was struck by what seemed wild construction. What I eventually detected was how precisely it fit an American voice yet moved on Asian meters with utmost economy and, in his case, clarity.

About a year later, I was living in a yoga ashram, a monastic community not that different from the Zen monasteries he had known in Japan. In addition, one of his essays told of visiting the ashram of our teacher’s teacher in India. It was perhaps the best portrayal of Sivananda I’ve yet read, free of the usual guru adoration.

Similar flashes continued as I returned to Indiana, where he had done graduate studies, and then on to his native Washington state, where he had long been a much better mountaineer than I ever would be. Still, the high country he celebrated was both real and transcendental, even in my briefer experiences. His familiarity with Indigenous tribes also informed my own encounters while living at the edge of the Yakama reservation.

I relate more of this in a poem in my Elders Hold chapbook, should you be interested.

Or, for a thinly veiled biography of him before he left for Japan, there’s Japhy Ryder in Jack Kerouac’s Dharma Bums.

Much of my writing, poetry and fiction, has concentrated on place itself, and that’s been something Snyder, too, has done. While I have moved independently of his example, I have been indebted and inspired.

Hari Om Tat Sat!

Acid test poet: Frederico Garcia Lorca (1898-1936)

When surrealism hits the mark for me, there’s something natural rather than forced about it. The juxtaposition of images connects organically, without need for the intervening steps.

That’s why Lorca is among the writers who serve as a touchstone for me. Besides, I can more or less follow his Spanish in the original, not a given with other Spanish masters I’ve admired and enjoyed – Jorge Borges, Garbriel Marquez Garcia, Pablo Neruda, Octavio Paz, for instance. His volumes are the first I pull from the shelf in that direction.

I love the way he saw New York, by the way – did it influence my novel Subway Visions?

Add to that the tragedy of his life being cut short by Nationalists at the outbreak of the Spanish civil war.

Acid test translator: Everett Fox (1947- )

His gorgeous large volume, The Five Books of Moses, leaves the reader agog that the Hebrew Bible wasn’t written in King James English. Fox’s rendering instead sticks close to the original tongue and has a rough-edged, field-research vividness where many of the characters come in unfamiliar names – Ish  and Isha for Adam and Eve, for starters. Familiar quotations sometimes differ so sharply that they pass unrecognized.

The translation evokes the sounds of reading the text aloud and hews to puns, word play, word repetition, and alliteration – with detailed notes and footnotes, as needed – that give a sense of what’s been stripped away in conventional translations that polish and soften the action.

It’s my go-to version these days, augmented by others to context to my earlier readings. I wish we had more of the Bible rendered along the lines Fox pursues.

Acid test novelist: Ernest Callenbach (1929-2012)

I’m not big on sci-fi, but the 1975 utopian novel Ecotopia looks rather prescient in that vein considering so much that’s happened in the years since.

The book came out just before I relocated to the Pacific Northwest for what turned out to be four years, but it springs from a recognition of how much the region stands apart from the rest of the nation. It’s a state of mind as much as watersheds and mountain ranges.

As an expression of hippie mindset, I find it more expansive than, say, Zen and the Art of Motorcycle Maintenance.

Acid test poet: Diane Wakoski (1937- )

When my poetic focus shifted in the early ‘90s from nature to romantic love as I had known it, Wakoski hit home for me. Hers were love poems but far from the sunlight, chocolate, and roses “I can’t live without you” stereotype of the hopeless/helpless romantic.

Hers were alive in an admission of the continuing impact of adolescent awakening and desire, no matter your age, and the imagery was unmistakably American with a rock’n’roll plus Hollywood warp.

The title Motorcycle Betrayal Poems captures the energy, and her fine volumes from Black Sparrow Press fill a stretch of a shelf in my library.

She was a kind of guardian angel in a stream of poems I produced in the decade. For a sample, see my Blue Rock ebook collection.