Come along on a funky little camping trip with me

Maybe if I had a camera at the time, the trip would have wound up as photos rather than a poem. The weeklong camping trip was a turning point in my life, though, and the poem that emerged from the experience was initially accepted by a prestigious Northwest literary press but then declined – they’d lost a grant, they said.

Had it appeared at the time, my path as a poet would have advanced, definitely more securely than it did. But the effort definitely solidified my growth in the craft.

Poem? It’s my attempt at what William Carlos Williams advocated as a longpoem, where the challenge is “to find an image large enough to embody the whole knowable world about me.” About, in this case, having meanings as both the immediate world around the poet and his own autobiographical revelations. In his case, the image was the Paterson, New Jersey, the river city where he practiced medicine and lived.

For me, it became about the Olympic Peninsula of the Pacific Northwest, bugged, perhaps, by Basho’s wanderings in ancient Japan.

Having originally appeared in Thistle Finch editions, this collection is now available on your choice of ebook platforms at Smashwords.com and its affiliated digital retailers. Those outlets include the Apple Store, Barnes & Noble’s Nook, Scribd, and Sony’s Kobo. You may also request the ebook from your local public library.

Do take a look.

Acid test novelist: Ken Kesey (1935-2001)

Although my classmates in a contemporary novel course rhapsodized over One Flew Over the Cuckoo’s Nest and the author’s later role as a Merry Prankster advocating LSD use, I was fonder of Sometimes a Great Nation, which I read while living not all that far from its setting in the coastal mountains of Oregon. Sections from the unfinished Seven Prayers of Grandma Whittier were also tantalizing. Now I am wondering about his naming of the grandmother, as a nod to … Quaker?

Kesey is fascinating as a forceful, larger-than-life counterculture celebrity, even notoriety, from the Beat movement on. How could anyone begin to compress his activities into prose, either fiction or nonfiction?

Both of his novels were published by the time he was 30. Maybe he was just too busy living to continue.

Let’s be clear, you do judge a book by its cover

With my training as an artist, I have some strong feelings about book covers. Most of the ones I see leave me cold. I think they’re too cluttered, and most of them lack a strong graphic element – I prefer a good photograph though am coming around on the painted image argument – and I like a clean, easy to read impression. Some of the typefaces used for the title or the author are nearly impossible to make out.

I did have a friend who was a professional illustrator for a Fortune 500 corporation. CAD (computer assisted design) was overtaking the field, and he felt it was destroying his artist’s hand, the one with the Rhode Island School of Design sharpened skills. His aspiration was to design old-fashioned book jackets, and while his style there wasn’t my cup of tea, I could see its appeal. Fortunately, he conceived a children’s book that took off, in part because it was based on a Pete Seeger song, which did get buyers’ attention. And led to many more all on his own.

I still don’t understand all the nuance, though. Is it true that a certain strand of fantasy is supposed to have a specific element woven into the cover to alert a potential reader that this is the subgenre she’s looking for? You know, maybe a touch of moonlight or a small bat in flight or a golden glimmer in someone’s eye?

I am learning, though. A cover makes a promise with a reader, so I’ve heard at Smashwords.

My thoughts on cover design and some of my favorites appear in earlier posts here at the Red Barn.

Self-publishing requires much more than merely producing a compelling text.

Naming a book is hard enough. For the record, I found naming What’s Left to be my most difficult, as I’ll explain in a future post.

In the world of books, and not just ebooks, a strong cover is crucial.

If you can afford to hire an illustrator or graphic artist to design yours great. I’m envious.

My first novel, in paper, wound up with an “art designer” misfire. Rather than respecting the black-and-white photo of passengers in a subway car, a flat yellow lotus shape was cut into the image with the title and author credits inside that field. It didn’t fly. In addition, my name wasn’t left as simply Jnana, as I desired. It was the full yoga version, an additional five syllables or 14 letters. Well, it kinda has a 1950s feel, even with some graffiti on its walls, but the action was all high hippie ‘60s and early ‘70s. I’m now wondering if getting a tagger to do the cover would have been a more successful alternative. I’m sensing it would have been a more in-your-face result. Buy me now!

For my first round at Smashwords, I hired a book designer who was, I seem to recall, living in the Czech Republic. Emailing made everything easier, including paying him via PayPal, which was new to me. Since he had a deal with a stock agency for low-cost photos, I rifled through its online pages filled with shots that might fit my need.

It’s harder than you’d think.

A good cover isn’t a poster. It’s more like a billboard on a much smaller scale. And your potential readers are zipping by.

The right photo turns out to be a rarity. It has to somehow reflect the story and still attract a buyer.

Even when you find a good fit, there can be problems. For instance, the photo I settled on for Hippie Drum was a black-and-white portrait of a shirtless young male playing a set of Conga drums. It even looked a lot like me at the time of the story. Little did I know how many viewers it repulsed.

There is debate over showing a person’s face on the cover. It can limit a reader’s perception of your central character, for one thing, and one reader’s ideal can be an instant rejection from another.

If you’re going the human face route, you may find the perfect photo with one slight flaw. She’s a redhead while your character’s brunette. It may be easier to tweak the book to fit the cover.

The experience of tweaking a character to fit the cover image.

There’s also a debate over a painted or drawn artwork versus a photograph.

When I got around to designing my own covers, I came upon a drawn image of a single daffodil bloom. How perfect and I still love it. And within the title I inserted a peace emblem for an “O” in DAFFODIL SUNRISE.

A few years later, when I changed the title, that cover went out of circulation. That peace emblem just didn’t work with the new version’s Kindle print-on-demand cover, either.

I have to admit a special fondness to the ones on Subway Visions, Yoga Bootcamp, and the Secret Side of Jaya – none of them photos.

Acid test essayist and poet: Kathleen Norris (1947- )

The Dakotas, as I encountered them driving a U-Haul to Washington state, are a starkly open, even disturbing space that contrasts sharply to the expanses on either side of them. Much of my writing has included unique places as an essential element, sometimes approaching the role of an actual character.

Norris’ Dakota: A Spiritual Journey came to my attention after I had relocated to northern New England and was attempting to comprehend its unique landscapes and peoples. Her insights, with all of the directness of Midwest expression, proved helpful.

The friend who recommended – or perhaps even gifted – Dakota to me had lived as an Episcopal nun, and my ashram residency was a monastic experience, so Norris’ The Cloister Walk, following up on her introduction to a Benedictine community, was more like a dialogue. Yes, monks and nuns can be prankish and have a sense of humor, and as mystics, they’re often unexpectedly practical.

Norris was welcomed as an active Presbyterian to participate in the Roman Catholic convent without any pressure of conversion. Rather, her exchanges were mutually enhancing, akin to what both my friend and I repeatedly encountered in our own religious streams.

Building on that, Amazing Grace: A Vocabulary of Faith has been a helpful guide in translating key Christian words and expressions – jargon, if you will – in ways a wider contemporary audience might more clearly understand. I find it helpful to have at hand when writing directly about Biblical terms and thoughts.

Poets do make some of the finest prose writers, in my humble observation.

Now, for standing on my head

I’m not sure when or where I began drafting my yoga novel or where, but I know the bones were in place before I began my self-declared sabbatical in 1986-87. Perhaps it was during my month of unemployment before landing in Baltimore. For one thing, I had revisited the ashram in the year before my big writing spree and perhaps even driven past it the previous year. I was hoping to get some answers for questions regarding my manuscript must say the encounter was unsettling. I wasn’t even allowed inside the center, and the woman who had taken over as guru declared herself too busy to say hi. A deputy was dispatched for that, with tea, while I sat beside Swami’s grave.

Well, that was a perk of being “on the road” as a newspaper features salesman, otherwise known as “field representative.” I even got my name in brochures and full-color ads in the industry magazine Editor & Publisher.

My ashram residency a dozen or so years earlier had been life-changing, but the connection broke completely when I relocated to the Pacific Northwest in 1976. Swami had demanded a large chunk of my meagre salary, and besides, I was newly married with a wife in college. The upshot, quite simply, was that I felt ostracized. I was certainly shunned it that social call. In the bigger picture, the yoga movement itself had gone into eclipse and my own spiritual journey had resettled in the Quaker vein.

Still, the yoga life in America was a largely untold story, even if it had put “karma” and “om” into the American vocabulary and mindset.

When I began drafting the book, I had no idea where everyone had scattered and had no way of contacting them. I mean, if I was ostracized, what was the point of contacting the headquarters? Did I even know that Swami had died? Perhaps, though some communication I had with someone who had been a regular guest and went from being a rock-band manager to a Messianic Christian comedian. I managed to make that connection through a wire-service news story I came across before my leap to Baltimore. So now I’m thinking the yoga novel originated even earlier than I’d thought. (I really do need to sit down with my journals for a very deep dive.)

I do see that some of the outtakes from Subway Hitchhikers were woven into what became my second published book, Adventures on a Yoga Farm, which came out as pioneering PDF ebook from PulpBits.com in 2005.

~*~

What do you do with a rogue outfit like ours? I definitely wanted to avoid the sticky sweet guru worship I’d seen in other books, and I definitely wanted to avoid a scandal-mongering expose, though I would later find that nearly all of the religious imports from Asia would face financial or sexual embarrassment. Michael Downing’s 2002 Shoes Outside the Door: Desire, Devotion, and Excess at San Francisco Zen Center would cover that reality in one of the more prominent and, up till then, respectable organizations.

When I sat down to write my novel, I decided to stick to one day in the community’s life. I created a composite of eight young yogis and their woman swami guru. Each resident student represented a different stage of development. It also involved compressing the two years of my experience into a single day. I’m guessing the one-day focus reflected the Greek theater ideal.

And I do stand by my original structure of eight disciples within a single day.

The book was republished via Smashwords in 2013, this time with more popular platform choices than PDF. My, have times changed.

What I really wanted, I think, was my own version of Be Here Now.

I don’t think I could have adequately presented the inner turmoil of a charismatic leader without a college degree now having a tiger by the tail much less uncovered all that got covered up in the frenzy.

Would anyone really care?

Acid test novelist: Jonathan Lethem (1964- )

Another of the circle of novelists I treasure who began writing after I graduated from college is Brooklyn-born Lethem.

“Genre bending,” used to describe Lethem, is a new term for me, but hardly a new concept. It’s something I’ve long pursued, if only in resisting genres outright. His multigenerational Dissident Gardens, especially its unconventional structure, even gave me a key for redirecting the material I had been gathering for what emerged as my novel What’s Left.

His essay describing the underground Schemerhorn station in Brooklyn is my nominee for the finest writing about the New York City subway station, period. Remembering, this is coming from the author of Subway Visions.

Some of my friends had resided near his locations in Motherless Brooklyn and The Fortress of Solitude, so the novels had some familiarity for me in addition to his takes on growing up in a hippie environment. I was especially intrigued by his treatment of his father, an outstanding contemporary painter and personal friend, as an eccentric videographer.

Now, to add Lethem’s earlier books to my TBR pile …

If these were paper books …

Discounted “sale” prices would be used to move a backlog of volumes, either at the bookstore itself or at the publisher’s warehouse. It was rarely a good sign.

With ebooks, there are no stacks of boxes or precious book-shelving problems.

Maybe you remember the “remaindered bin” with its cheapo prices. What you likely don’t remember was that authors didn’t get paid royalties on those.

Still, they got books moving into readers’ hands.

Events like Smashwords’ big July-long ebook sale exist to stir things up a bit.

Check out my four selected entries at my Jnana Hodson author page at Smashwords.com to pick up some real deals.

Poetry has been an influence, too

Through much of my adult life, I’ve spent more time writing and distilling poetry than I did with fiction.

Part of the reason was that poetry fit my once-a-week time for sustained “butt time” addressed to my literary efforts. A novel, in contrast, requires a bigger window, at least for me. I have to admire mothers who put something good together while toddlers and family meals gave little respite.

For me, the practice of poetry, both as a writer and reader, springs from the practice of meditation I took up as a yogi and continued as a Quaker, though now it’s once or twice a week rather than daily.

Prose simply feels more secular and aimed more at a general reader. And even there, I’ve come to see that writing hundreds of thousands of headlines for a living had a poetic component in its brevity. My personal writing was one way of staying sharp there. As for the hundreds of thousands of newspaper pages I designed? They did fall back on that intense visual art training in high school.

Like my fiction, my poetry originated in trying to remember and make sense of what was happening around and within me. Sometimes, when I got around to a manuscript of fiction, I would cannibalize a poem, especially if it hadn’t yet been published in a journal. That was especially true when it came to Nearly Canaan and the Secret Side of Jaya.

I wonder if any of this goes back to my childhood interest in chemistry and then being stymied when I wasn’t taught algebra when I needed it, back in fifth and sixth grades. Freshman year of high school was too late, my line of inquiry had shifted to classical music and visual art.

Poetry is a kind of equation, even geology, rather than the Friday night football game a novel can play.

~*~

My juggling act between the daily journalism that paid my bills and the literary aspirations that I hoped would finally free me did result in what I’ve come to see as literary graffiti – flashes written on the run, even when they then underwent much distillation and refining. I think that’s most obvious in Subway Visions, Nearly Canaan, and the Secret Side of Jaya but also befits everything except What’s Left, and even there may have crept in through the earlier outtakes I wove in.

~*~

Shortly after my books were up at Smashwords, a fine writer I know told me over coffee that I was more of a poet than a novelist. Ouch! He may have even said a better poet than novelist.

I hope I’ve improved since then and have arrived at a better balance in the revised books.

Think of it as an ‘advance reading copy,’ after the fact

Many of the books in my personal library arrived in the newsroom as advance reading copies, intended for reviews or perhaps mention in a column, except that we rarely printed one of those. Instead, the freebies went out on a shelf for first-come to be first-served.

For the book publishers and authors, it was a huge waste of money.

In addition to the two books I’m offering for free at Smashword’s big July-long sale, you can pick up a copy of my new Hamlet: A Village of Gargoyles poetry collection at just half-price.

It really is worth a visit.

Now, for some ‘Bodoni-Bodoni’

Hometown News is the one novel Cassia from What’s Left didn’t press me to revise, but it got the treatment anyway. At least the title stayed the same, though the subtitle “Reports from Trump country” was added.

Political novels rarely work, so I’ve heard. And I didn’t pitch this was as dystopia, though casting the book more along those lines might have been more successful.

The book still stands apart from my others.

In the time since its first draft and my big round of deep revision, much that I had investigated only worsened. The once powerful newspaper industry was a ghost of itself, and many of the once legendary nameplates were owned by hedge funds whose owners or managers were among the world’s top billionaires. The Rust Belt communities like Rehoboth still hadn’t rebounded – their lucrative unionized manufacturing jobs were never coming back, either.

~*~

Unlike my previous newspapers, the final one I served had job security and decent wages, thanks to our Newspaper Guild representation. I finally made it to median income, even.

Socially, its newsroom broke down into three distinct circles with little overlap. There was the daytime staff, an echo from the days when we still had an afternoon edition; it was the crew that did the features and opinion pages. The nightside staff produced the next day’s daily editions right up to 1 a.m. And the Sunday News staff worked a four-day week culminating in a double shift on Saturday. We got to know each other the most through union meetings revolving around contract time.

At my first paper, where we worked into the night, the staff usually gathered at the bar next door after their shifts and stayed till closing time.

At another, where we were mostly young and without kids, it was on Friday afternoon – the POETS society, as our divorced city editor dubbed it: Piss On Everything, Tomorrow’s Saturday.

Usually, everybody lived at a distance from the newspaper plant. Few could afford the rents or mortgages in the city of publication.

I can’t speak for other office situations or professions, but I did find that close friendships were rare. You knew your coworkers more by a phrase or two they repeated or a favored style of clothing they wore or, as some of the guys seemed to do, by the kind of car they owned.

Still, things came up at parties. Consider the quip from one generally naïve woman regarding the allegator-skin cowboy boots one of the sportswriters once appeared in: “Hey, you look like a pimp. What’s up?” And then the shock we felt a month or two later when he was arrested, having procured women and motel rooms for men in the car racing circles he covered.

At these gatherings we usually huddled around the share our war stories and talk what one spouse dubbed “Bodoni-Bodoni,” after a widely used headline typeface.

Most of the papers I worked at were the smaller operation in a broader market. And I usually was part of a news team with a competitive, aggressive mindset. That part was exciting.

In the revisions, I did have a new paper to draw on, not that it was of the progressive mold I was pursing in the book. The daily interactions, though, could be just as rich.

~*~

From what I’ve seen, the situation of low-level, “shirt-sleeves” managers has only worsened across the board. Perhaps the Covid pandemic work-from-home option has eased the pressures on white-collar jobs, but that happened after my final revision.

There was little job security in working for mass-media companies. When I was with the features syndicate, I’d spend a year nurturing a relationship with the top editor, who promised to buy a certain comic strip or opinion-page columnist or weekly business report from me when the next annual budget was approved – only he was gone by then. Turnover was high, often blamed on “bad numbers” like shrinking circulation or advertising revenue. Or, in one case, because the company headquarters decided to buy a radio and TV broadcast chain.

I do wonder what happened to several of the family-owned papers I called on. They’re top editors didn’t feel a need to attend the usual annual conventions where networking occurred.

I should also mention that several of the papers I worked for did bring in management consultants, giving rise to the team in my novel. Give credit to the one that threw up its hands halfway into the projected year of monthly meetings, declaring that the news business just didn’t fit any of their models.

The Dilbert comic strip touched on many of the office realities, but at a superficial level.

Best-selling management books – Tom Peters’ In Search of Excellence, for example – were exciting but didn’t reflect the everyday realities we faced meeting hourly deadlines leading up to the big, final deadlines. The ones you didn’t dare miss by more than a few minutes.

~*~

So I made tweaks to strengthen the focus on central characters and acknowledge the big hit from the Internet.

~*~

I should say something about public misconceptions of journalists and their papers.

One colleague, who lived a block from me in the town I call Rehoboth, told of a neighbor who complained to him every time the met around the driveway. There was always something wrong with something we’d done. Finally, my buddy fired back. “What do you think the reporter of that story is paid?” The man, a steelworker, fired off a figure. “Less than half of that,” my buddy said, “and she has a Master’s degree.” The man was shocked. After that, he always had something good to say.

As for the right-wing perception of liberal bias, the reality was that many of the biggest papers were unabashedly conservative: Chicago Tribune, Los Angeles Times, Phoenix Republic, Boston Herald, Cincinnati Enquirer, Columbus Dispatch, Indianapolis Star, and probably the majority in the smaller markets. And that was before Fox.

If there’s a bias, it’s for facts rather than presumptions. The Louisville Courier Journal’s Pat Siddons, who covered Bloomington, once said. “I know I have a controversial issue right when I get complaints from both sides of a story I’m covering.”

The fact that journalists are largely low-paid, working nights, weekends, and holidays, did nothing to incline them toward big business, though. One thing we hated was injustice. Another was the lies that accompany it.

~*~

Trying to locate Rehoboth?

It was a composite, drawn mostly from the Rust Belt that extended from Philadelphia and Baltimore west to the Mississippi or so. While my book describes the steel mill that dominated the town, similar communities may have had auto assembly plants, appliance manufacturers, parts makers – the list would be long, like the empty factories they left behind. I observed large swaths of devastated industrial zones in Youngstown, around Pittsburgh and greater Philadelphia or upstate New York or Detroit – places that resembled arial bombing scenes from World War II Germany and Japan. Similar scenes existed along the Lake Michigan shoreline of Indiana, and across Wisconsin and Michigan.

I could now add to that the former papermill towns of Maine.

The fact that there’s personal breakdown as well, as I present in the story, is more than symbolic.

~*~

As for authors and books percolating through me during the final revision and later, the culture J.D. Vance describes in Hillbilly Elegy is one I knew well. Our high school basketball team played his, for one thing, and I had toured its steel mill twice as a Boy Scout. His Middletown could be one more nominee for my Rehoboth.

Add to that Ben Hamper’s Rivethead: Tales from the assembly line, David Foster Wallace’s The Broom of the System, Charles Bukowski’s fiction, a shelf of business case-studies, Kenneth Patchen’s poetry, E.F. Schumacher’s Small Is Beautiful. And Brian Alexander’s Glass House: the 1% economy and the shattering of the all-American town is high on my TBR pile.

~*~

Seeing the loss of status and influence of an independent press has been personally painful, as has the breakdown of communities despite the opportunities of small is beautiful, especially in the Midwest.

Since the final revision, one of the figures in my book, the major scumbag, really, died in a horrific late-night car crash. And pneumonia took out Major Bohroh a little over a year ago.

If I were to tweak Hometown News yet one more time, I’d intensify their evil nature.