MAKING TIME FOR THE WORK

As I said at the time …

There’s no denying the importance for a writer to have a physical space where the work-in-progress can be left out in the open, safely behind a closed door, between sessions. Where there’s no lost time putting everything away, only to have to bring it out again in order to resume where one left off. This doesn’t have to be a dream space, either.

But making time for writing is even more crucial. Being able to get a thought or line down on paper, while it’s fresh. Of finding large blocks of time to engage in the interior dialogue of characters as they emerge amid your daily errands and nocturnal dreams. (Like babies or demons, they possess you.)

I’m not alone in finding my practice of writing becomes part of a larger juggling act, especially when I’m already working fifty-hour weeks as a professional whatever somewhere else. Especially when those hours are outside the “literary” field altogether. Then there are the needs of a home life to contend with, and, in my experience, a faith community, too. For instance, I’ve found that as long as I’m employed as a full-time journalist, my off-duty hours leave me only enough hours to (a) write and revise or (b) focus on submissions and correspondence or (c) attend and give readings and other public events; but there is no way to do two of the three (much less all three) in the same period.

On top of it all, the work takes as long as it needs. Or, like the old-house syndrome, every repair or renovation project will require at least three times more time and money than you budgeted.

BACK TO THE SCENE

The groundhog story continues. Not to be content with the early raids on our garden, the attacks on our beds resumed. Lush Brussels sprouts plants that had been three feet tall were now mere spikes, and in the latest round we lost some kale and squash plants. Neighbors are relating their own losses, including peppers.

I did notice a small entryway had been dug out under our firewood stacks and eventually saw a pointy nose and beady eyes regard me. Not once or even twice but enough to make me suspect the worst. So I moved the trap from the garden and placed it near the entrance.

To my relief, I did find that the trap my wife bought at a yard sale a few years ago does indeed work, and that cubes of cantaloupe prove irresistible to the critters, but even that is taking its own turns. The first time the device was triggered, a bit of Brussels sprouts stem included as bait kept the shutter from locking … allowing an escape. Would the villain learn to avoid my means of entrapment?

I reset the trap and by lunchtime returned to check it out. Although both shutters had been triggered, a ‘chuck was propped up OUTSIDE, one foot on the top as it peered in, likely wondering how to get back to the bait, as if adding insult to my intentions. It seemed I’d been conned again. But, just in case, I circled around and closer examination revealed another was couched inside. One down, at least one more to go.

The short version of what followed includes a trip to Maine, just over the river. Released from confinement, that one bolted through the forest … straight toward New Hampshire.

For my part, back home, hoping they’re slow learners driven more by their guts than their brains, I reset the trap in pursuit of the other. Two hours later, I was back in Maine and evicted that critter, which dashed straight into the river and started swimming toward New Hampshire before rounding back to shore. I was grateful it was still high tide but dismayed to see what confident swimmers they can be. So much for that barrier.

Back home again, seeing new diggings around the firewood, we face the reality of having at least one more living under that neatly stacked firewood. If this keeps up, I’ll have to buy another melon today. At least I’m grateful we didn’t try growing our own; they would have cleaned ’em out, meaning I’d still have to buy one to use as bait.

All that's left of the once thriving Brussels sprouts.
All that’s left of the once thriving Brussels sprouts.

 

FURROW

Like the American bison that dominated the prairie, the continuous ocean of tall grasses, which for so long spread from a corner of Ohio into Montana and Colorado, has been decimated. Homesteaders – seized by a fever to possess farmland of their own – sowed apprehension in their furrows. Inhabitants and land itself now lay open to chronic infection. After each harvest, the Breadbasket of the World, the Interior States of the American Soul, is left vacant, a stubble desert awaiting rebirth. Descendants of those who made this band agriculturally productive bear both its blessing, in economic output, and curse, as if no one can entirely escape the desperation that prompted settlement in the first place. In the recesses of the psyche, inheritors of these spaces must likewise sense themselves to be buffalo-people, and then fear they, too, may be heir to this fate. Pushed to the fringes, the intrinsic beauty and spiritual potential of the heartland are easily overlooked, both by the remnant population and the world’s policy-makers. Today’s farmers are mechanics, first and foremost. Cry, then, for harmony and healing – a proper reentry into Canaan, a taste of balm in manna. Look, ultimately, to the surviving bison and tall grasses with their underlying lavender shadings. Respect the faint drumming, growing louder.

NATURALLY, SHE HAS REASON TO WEEP

You may remember my writing of the wildlife we have in our yard, even though we live in a city. Maybe I was even bragging, a tad.

Meanwhile, our garden was looking better than ever. Some of it was likely a consequence of all the seaweed we’re using for mulch, plus the compost. Some of it a matter that we got just about everything transplanted on time, and some a reflection that my being free from the office has allowed a little more help with the weeding and harvesting.

On top of everything, the weather has been uncommonly cooperative. There were no late frosts in May, though there were nights we had to bring plants under cover as they “hardened off” before transplanting. We largely avoided a wet June, which kept the garden slugs under control and meant the strawberries didn’t get waterlogged. (They’ve been very tasty. The berries, that is.) July has brought rainfall as needed and also stayed out of the tropical range of oppression.

And then, about a week ago, disaster struck. A groundhog (apparently dwelling under a shed three houses down the street).

We had some near misses in the past, but nothing like this. One year, in fact, a band of possums evicted the groundhogs from their burrow. My wife’s always like opossums.

Overnight, half of our Brussels sprouts and a half-dozen heads of lettuce were obliterated. The rest were wiped out a day or two later, despite our efforts to fight back. Without the possums coming to our rescue, my wife’s taking this personally. For that matter, so am I. What about all that teaching about peaceful coexistence, anyway? What if the other side just doesn’t care?

Living in the city, we can’t resort to the usual line of defense, either, the one many vegetarians no doubt practice. No, a .22 is not an option here. You can run down the list of other weapons and strike them off one by one. Children and pets, after all, live in the neighborhood.

So here we are, mopping up and hoping the cantaloupe slices in the Hav A Heart trap do the job. And wiping our tears.

At the end of Round One, the big trap came out, along with some impromptu fencing. The Brussels sprouts at top right had been capped, which means they're done growing for the year. The lettuce, as you see, was leveled. What we did discover is that groundhogs can read, when they want. Mark's garden was also hit.
At the end of Round One, the big trap came out, along with some impromptu fencing. The Brussels sprouts at top right had been capped, which means they’re done growing for the year. The lettuce, as you see, was leveled. What we did discover is that groundhogs can read, when they want. Mark’s garden was also hit.

 

 

 

 

OH, YES

 As I said at the time … Eighth Month 24, 1997 

Dear M of the Warm Heart and Extraordinary Signature …

Thanks for giving those five poems a first home. I look forward to seeing what you’re doing with your ‘zine, being already intrigued by your sense of graphic design. (A lobster in the crest? Great touch, especially considering how many French-speaking kids in Maritime Canada used to go to school with lobster in their lunchboxes while their richer English classmates had roast beef. How times change.)

You have no way of knowing how much your letter meant to me. (So I guess I’ll have to try explaining, right?)

Here I was dragging home from another hellish Saturday at the newspaper office — the 9 a.m. to 10 p.m. drill — well into a mounting depression that has been building for the last several weeks. (In part from watching an ex-girlfriend slip into alcoholism and eating disorders, and also in part from going to contradances where we’ve been way short of women partners, as well as in part from the pleasures of adult orthodontics, and even in part from car trouble, blah-blah. You get the picture.) So there, amid the junk mail and a bill or two: your letter. Poetry acceptances are always nice, especially when an editor selects more than one. An entire batch, of course, is a winning scratch ticket. But a letter? Not just a form acceptance? I’m touched.

You pack a lot into a single page. Things that trigger emotional reactions within me, too. For starters, you write so well — with seeming ease, grace, intimacy, color and a varied vocabulary, joy, and encouragement. You leave me arguing with myself: Is she really 18? (Na, can’t be … way too insightful to be a kid.) (Yes, she is: Listen to the dreams. Listen to the inner connections. You don’t get that from university study.) (Nah, it could be a very studied imitation — somebody who would like to be 18, like your friend who decided 17 was the perfect age and then spent the next half century remaining 17.) (Yes, see how she leaps with playful touches — the “love and liquor” or “little blade of grass in the garden of literature.”)

So, M, which is it? How is it you apparently have so much going — plus the resourcefulness and skill to launch your own magazine? Tell me, do … I’m intrigued. (And why, by the way, were you home on a Friday night instead of out on the town. Especially a big town, like Chi’town?) Ah, life! Ah, mystery!

“Professional” writer? My dear, all writing is work — and sometimes, when we’re really blessed, it becomes intense prayer, no matter how that particular piece turns out. Writing is a process, with two muses, as Wendell Barry insists: one says you can do it, you really have to give it a try, before the other reminds us, it’s harder than you thought! For most journalists, it’s a trade, as in plumbing or meat-cutting. Since no poet today pays the rent or mortgage from royalties alone, my definition of a “professional poet” is anyone who gets pieces published while being employed to teach “creative writing.” That makes the rest of us “amateur poets” — amateur, as in one who loves. Of course, as an editor now, you are “professional” to whatever degree you want to accept — especially since you’re in position to endorse some of those creative-writing teachers through publication. (Feel the power yet?)

Literary masterpieces? Don’t worry about that, not for a long time, if ever. The important thing for you now — as well as those other “mostly manic, angst-ridden teenagers,” who, you acknowledge, “produce some fine work too” — is to ride the energy, recording as much of it as you can while everything is extraordinary, intense, and fresh. This — your “shit load of poems (from) the last several years” — is the Mother Lode you’ll be drawing on for the rest of your writing career. Lucky you! Thirty years from now, you’ll shriek: “A diamond in the muck! A turn of genius where I had seen nothing remarkable!” Trust me. And in the meantime, throw nothing away. I wish I had begun keeping a journal six years earlier I did. One detail can spring an entire movie from oblivion.

A theory: By the time most writers develop the craft to accomplish what they intend technically, they’ve lost the opening that compelled them in the first place. The result is dry, technical work.

Put another way: A critic on PBS remarked that no other visual artist has produced as much bad art as Picasso did, yet we need the nine bad pieces if we are to appreciate the genius of the tenth one. Ted Berrigan, in one of his taped teaching sessions, says much of the same in warning writers to be wary of the limitations success can put on their outpouring.

About my poems in your hands: Yes, these five are delicate, subtle, even dreamlike. Lately, I’ve been reflecting a lot on how the conflicts within any relationship often form as much of the fabric of connecting as the basic erotic/romantic attraction does. Of course, either partner can really know only his or her half of the interaction, at best, so there are always these gaps and misunderstandings and expectations and — well, the kind of lacy texture I think you perceive. I’m trying to let the images themselves convey this energy, without limiting it by any editorial comment. Does this make sense to you? (By the way, a hambo — one of the images — is a wonderful pivoting dance for a couple: somewhat like a waltz or a polka, except that the woman really does seem to fly about five feet rather than five inches above the floor.)

So how ‘bout sending a big batch (copies, of course) of your writing my way? Not that I’m bored, mind you, but as I’ve said, intrigued. The whole point of writing is to share it. Enclosed check, too, is for past issues, future issues, a subscription if you have one.

Wish you were here to read to me. It’s a lovely, dry, cool New England Sunday afternoon. A great day to head to the beach or the mountains. Or even off to Boston, for whatever. Thanks for making up for being so mean to everyone that day by being nice to me. Your penance worked!

Cheerios and grins …

NOTHING NOSTALGIC ABOUT IT

One thing I strive to avoid in my Hippie Trails series of novels in a sense of nostalgia. Admittedly, the music, especially, can bring back groovy feelings. (The close reader will notice how little of it I touch on directly, but rather I try to look at other facets of the experience.) And, yes, it is easy to get wistful with some of the memories – Woodstock, for example, while conveniently overlooking all of the physical discomfort, or for some of the lost social life and friendships – but there are good reasons we can’t and don’t go back. Our youth, obviously, has turned to aging, and our freedom turned to responsibilities, many of them ones we’ve chosen.

We need to emphasize that much was not happy. There was desperation, in fact.

The period and the movement were far from perfect, but we also had glimpses – epiphanies, for some – and their influence is far from completed.

If we wholesale deny the dreams and prophetic directions we experienced in that youthful outburst, we cut ourselves off from our higher nature – and both we and our largely society are impoverished as a consequence.

As I look at the array of problems facing America and the world today, I sense that the more serious currents under the surface of the hippie outbreak may finally provide some much needed direction, if we can be honest with ourselves and our history.

That’s definitely not nostalgia, no matter the anthems and hymns in the music of the era.

~*~

To learn more about my novels, go to my page at Smashwords.com.

CHOOSING FRIENDS

Theological issues play very little into why a family chooses one church over another. So the surveys tell us. Instead of its beliefs, a church is chosen for its youth program, its overall vitality, music, the kinds of expectations it will or won’t place on members, and so on.

Puts Friends in a pretty strange position, doesn’t it? What committee do you want to serve on?

On the other hand, our existence as a “do-it-yourself” congregation requires us, personally and as a group, to draw out individuals and families and engage in their daily lives. One of our strengths is that Quaker meeting allows room for spiritual growth over the years, within a wide range of activity, while maintaining an intimate connection. Our small size, in an era of mega-churches, presents us with advantages, especially in knowing one another authentically. Besides, worship is quite distinct from entertainment.

Now, how do we roll out this welcome mat? Maybe I would remind folks that our place of worship is a house, first and foremost. Come on in and get comfortable. And then be fed. Be sure, of course, to lend a hand with the dishes.

THIS OLD HOUSE DISILLUSIONMENT

One of the downsides of owning an old house is an awareness of just how expensive any repair is. (And it’s always more than you’ve planned.) Add to that just how many repairs are needed. (Remember, most of them are for things you don’t even see.) And that’s before we get to any upgrades.

The awareness has also afflicted many of my dream-house observations, especially when I’m nearing the ocean. Where I would have admired a stone retaining wall under construction or a long pier from a private boathouse or deck to the mooring, what I now see is dollar signs. Often, more than I would have made in a year. It’s crushing.

It can make you wonder what people do for that kind of income. Or what kind of wealth they were born into. Or how long it will last.

One thing I know is that fishermen used to live in some of these coastal communities. But not anymore. Not by a long shot. Some of them live closer to me.

 

A TURN IN THE GARDEN

As the hot, humid weather kicks in, we shift gears. Our weeding turns lazy, and our plants will just have to fight it out for survival. If we’re diligent, we’ll water, though the utility bill frightens.

Maybe it’s all part of the relationship.

~*~
Of Devis and Other Spirits

A garden without a woman is lamentable

unfolding from Eve
and the Singer of the Song of Songs

 all this color and excitement

my Woman wears no cosmetics
she’s organic
but oh so much better for me
than health food

my Lady leads me in unanticipated ways
she’s so unlike the ones before her
she works with wise fingers without hesitating
to get dirt under her nails

still, as the younger one said,
“you’re a mean mommy:
you’re as mean as the thorns in a buckle bush”

In constructing her garden

sod, roots woven tight, close together
the way I thought we would

overlooking the fact we both flower
quite conspicuously

our stems woody or thorny
even through winter

 poem copyright 2014 by Jnana Hodson