Tag: Jobs

REVIVING THE FAVORITE SON OPTION

~ Jnana Hodson ~ 4 Comments

Looking at the lack of traction of any of the candidates in the Republican presidential field, maybe it’s time to suggest returning to a once common strategy, one known as the Favorite Son – or, on today’s scene, Favorite Daughter.

Here’s where the large states like New York or Ohio could wield their clout, throwing their primary election weight behind a candidate from their state who would then negotiate at the national convention. Well, we do have Pataki and Kasich as a fit. Add Rick Santorum, Pennsylvania, and Chris Christy, New Jersey.

Florida becomes more of a problem, split between Bush and Rubio. As for Texas, still Rick Perry?

Could be interesting, if they can muscle their delegations. But California keeps drawing a blank for me. Keep wondering who I’m missing.

Well, why wouldn’t conservatives want to return to the past? Seems a rational option at the moment.

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.

REGARDING THE LATEST GREEK TRAGEDY

~ Jnana Hodson ~ 3 Comments

Vanity Fair magazine’s October 2010 article, Beware of Greeks Bearing Bonds, by Michael Lewis may still be the best perspective we have on the events finally crashing along the sunny Aegean and sending shock waves through the rest of the continent.

Events? Do we call them economic? Financial? Political? Social? Moral? Cataclysmic? Truly tragic, as in “taking on the gods and bearing the consequences”?

The Greeks aren’t alone in trying to make sense of money issues. Apart from monetary policy itself – a highly esoteric field – any discussion of money soon wades into emotionally laden assumptions regarding wealth, possessions, time, labor, even food or family or religion. These are the grist of my ongoing Talking Money series at Chicken Farmer I Still Love You. I hope you join in — the category can be found under the Contents tab.

One of the easily overlooked realities about money is that it is essentially an elaborate IOU – one that allows us to store excess productivity or labor over time and space. Eventually, though, any promises come due, and you better have something that will back the debt up. That’s as true for nations that print the bills or banks that move them about as it is for individuals. And that’s what we’re seeing in Greece.

As I write this, I have no way of anticipating what will play out. The lack of a single nation to enforce the necessary regulations that would back the euro had me skeptical of its success from the very beginning, though I’ve long admitted to being a neo-Luddite. Still, the history of state-issued currencies in the United States in the aftermath of the Revolutionary War illustrates the pitfalls of currency that is insufficiently backed up. Prudent Pennsylvania proved to be the big exception to the trend and maintained its value.

We watch the present drama, then, hoping the action remains confined to the stage in the amphitheater. There are no guarantees – no double your money back – for anyone as the plot thickens.

Any predictions? Or counsel? We’re all eyes and ears.

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.

REMEMBERING THE ‘BIG TIME’

~ Jnana Hodson ~ 7 Comments

Found myself chuckling the other day as I was making photocopies on the computer printer. What came to mind was the memory of my old definition of knowing I’d made the big time as a writer would be when I had my own IBM Selectric typewriter and my own Xerox copier. Gee, it didn’t even have to be Xerox, now that I think of it. (And it wasn’t even something really big like a sailboat or shiny new BMW.)

My, how that dates me! But let me explain.

Not too long ago, writers like me were clunking away on big old manual keyboards, even in newspaper offices. The electric typewriters were more likely to be found in the jewelry store on the corner or at the bank than on the desks of people who had to type constantly as part of their employment. Well, really good secretaries also had them – with a lot of our admiration.

While the news writing could have cross-outs and handwritten insertions, serious literary submissions were expected to be perfect – and each submission to the journals was expected to be clean, meaning a copy seldom lasted long in the face of multiple rejections. (Remember, even top-flight authors can expect to receive an average of 20 rejections for each acceptance – or that was the story back when all this was going on. And simultaneous submissions were absolutely verboten.)

So that’s where the photocopier comes in. The small-press editors eventually began allowing copies rather than originals, which was a big blessing for poets like me. Still, it meant finding a decent place to make copies. When I lived in the desert of Washington state, for example, a trek to Seattle four hours away included several hours making fresh copies.

Once I’d moved up the management ladder a few notches, I did splurge on an electric typewriter, one I loved despite its annoying flying f that nobody could keep repaired. Half of the time it would land several spaces further down the line than where it was needed.

Newsrooms, meanwhile, finally got the Selectrics – not to facilitate reporters’ work but to allow the stories to be scanned directly into type, which raised an entire other nightmare. (Try editing one of those!)

What I really envied with the Selectric was the fact you could choose different fonts and sizes – those magical metal balls that flew around above the page you were typing.

~*~

So here we are, a few decades later. How obsolete all that has become! The computer keyboard allows instant corrections, unlike the bulky typewriter. Even the Selectric. And I have quite the array of fonts and sizes to select from, even before shopping around online for more. So much for the four or five choices in the Selectric, if that many. As for that photocopier, I can simply scan copies from the top of that computer printer for all but the most unusual projects.

As for IBM and Xerox? They’re hardly the monolithic powerhouses they were then.

My, how the field’s changed!

As have my measures of “big time.”

FAREWELL TO THE SWITCHBOARD

~ Jnana Hodson ~ Leave a comment

At the office, we had the farewell to the switchboard operator who’d been replaced by the new phone system – someone who had been there when I arrived two decades earlier.

Oh, the weird calls we’d get, the ones she usually screened yet some still managed to slip past her.

The woman from California, “Can you tell me what state New Hampshire’s in?” and I wanted to reply, “How the hell did you get this number?”

All of the ones wanting to know my opinion, as if it mattered.

Or the drunks or the individuals convinced of this conspiracy or that. Especially late at night.

As the publisher told one, “What do you think this is, a call-in radio show?”

Listen. We’ve got work to do, rather than yap. Piles and piles of work.

~*~

Oh, my, the telephones! They become a chorus of their own in my novel, Hometown News.

Hometown News

AN ALL-STAR CAST

~ Jnana Hodson ~ Leave a comment

When I was working with the newspaper syndicate, I got to meet a lot of impressive talent. (That’s how we referred to them, too, as “the talent.”)

The other day I was thinking of a few of them – Mike Peters (Mother Goose and Grimm), Jeff MacNally (Shoe), Dick Locher (Dick Tracy), Doug Marlette (Kudzu) – all of them excellent editorial page cartoonists as well – plus Joe Martin (Mr. Boffo) and Kevin Pope.

For the most part, they were a serious lot. I remember one’s reverential mention of another, “He’s the only cartoonist who makes me laugh out loud” – only to hear, months later, the comment returned without prompting. Like, admiring like, with a twist.

I remember, too, one looking at the work of another and commenting, “This is really funny” – without breaking into the slightest evidence of even a smile.

As I said, a serious lot.

What I also found was that their work was much funnier than what turned up among the others who were more boisterous and comical in person.

~*~

MacNally and Locher were both employed by the Chicago Tribune and enjoyed a warm rapport. MacNally’s studio wrapped around the elevator shaft on the 35th floor of newspaper’s iconic tower and had large windows peering out across the city and into the infinite blue of Lake Michigan as it blended into the sky. How he could ever work in such a suite was beyond me. (The top floor, just above his, was filled with electronic gear. Microwaves and the like.)

Locher’s studio was one floor down, with small diamond windows and a rather Gothic feel. I joked that it was like dwelling in a gargoyle, and he agreed.

As we sat in that space, a coworker noticed two framed certificates and remarked, “That’s all a Pulitzer is? A piece of paper?”

And without missing a beat, MacNally, who had just won his third, chortled. “Yup,” he said quietly. “That’s about it.”

REMEMBERING A PRINCE OF PUNS

~ Jnana Hodson ~ Leave a comment

Long a staple of the Friday-night Public Broadcasting lineup, Wall $treet Week’s Louis Rukeyser was noted as a master of puns. Or should that be groanster? Or even monster?

So in his presence for lunch one day, I piped up. “You know there are no good puns, only bad ones and worse. So who do you look down to for inspiration?”

He took it in good stride, knowing the sneer puns often earn, and replied calmly that when he was growing up, one of his father’s best friends was Random House cofounder Bennett Cerf – and young Louis gobbled up all of the literary publisher’s pun-filled volumes. I think he said he memorized 14 books in all. Not a bad foundation, for starters, and probably better than the jokes at the end of each month’s issue of Boys’ Life magazine.

Toward the end of his career, Rukeyser increasingly resembled the man on America’s one-dollar bills, an image he no doubt curried with a bit of tongue-in-cheek. Get a shtick in life, you might as well run with it. And how!

He was also an early example of the multimedia celebrity, something I detested in my role as a newspaper editor. I saw enough examples of television or radio personalities who tried their hand at simultaneously writing regular columns for print media, and our side of the equation was obviously the one being slighted. Let’s be frank. Anybody in the spotlight has only so much first-rate material to go around.

(That makes me recall a second-rate Boston newspaper columnist who took on TV features too, and pretty soon you couldn’t understand his content unless you’d seen the show he was amplifying. And then he was unmasked as a disgrace.)

Still, Rukeyser was candid about what we now call a “platform.” His career started as a reporter the Baltimore Sun, and he maintained a newspaper column throughout his run. “It established my credibility,” he said, back in the days when print carried clout.

The TV series, he added, gave him exposure and fame.

But the money came largely from his in-person appearances as a convention speaker. Everybody, after all, knew who he was – and that he could make the “dismal science” of economics and finance a lively, even humorous, topic.

Not every editor, I should note, bought into the argument that his fame as a public television celebrity would translate into newspaper readership. I still share their conclusion.

And then we had Andy Rooney.

ROADSIDE RECIPE

~ Jnana Hodson ~ 3 Comments

Originally it was three lines, but this is what I read:

Now hiring fried clam strips chicken tenders.

(Well, I always wondered about their scallops. But now we know who tenders those chickens. Or is it strips those clams?)

Yes, this definitely puts chicken tenders in a new category.