Tag: Literature

Acid test essayist and novelist: Madeleine L’Engle (1918-2007)

~ Jnana Hodson ~ Leave a comment

Although she’s famed for her young adult fiction, what I appreciate more is her personal writing reflecting her life with a well-known actor, including the years of hiatus they spent in a 200-year-old farmhouse in Connecticut before they returned to New York City and his acting career.

Her candid reflections on being subject to prejudice from both liberal parties, who shunned her books for their religious content, and from conservative Christians, who avoided them for their universalism, speak of a painful reality for those of us who embrace a radical, even revolutionary, faith.

A devout Episcopalian, she mentions deep discussions with Chase, who turns out not just to be the father of a fine friend of mine but also a rector of the Cathedral of Saint John the Divine in Manhattan. My friend has mentioned babysitting her grandchildren in her apartment several floors above his family’s.

 

More than volcanic ash spewed out from my days in the Pacific Northwest

~ Jnana Hodson ~ Leave a comment

Stephen King has advised novelists to have only one Big Idea in a book, but I came across that way too late to put it into practice. (Maybe if I ever tackle another novel?)

As I hunkered down in my self-imposed sabbatical in Baltimore – or was it self-incarceration or even cloistered? I did little else – my attention eventually turned to a more recent span of my life than the Kenzie novels covered. It was time to consider my nearly ten years of marriage and its breakup. If only I really knew how to star in it.

I thought that this next book would be about the most heavenly time and place imaginable, but as I typed and would eventually see, the real story was about a deeply troubled marriage, with me holding the debris after it blew up and a whirlwind romance afterward left me in a fog where I was.

So courtship, marriage, and relationship per se were one big subject. (Idea, in King’s expression, feels too refined.)

The other was the Pacific Northwest as seen from the other side of the Cascade mountains in Washington state, a land that is essentially desert rather than rainy gray Seattle.

One was something many people had some familiarity with, but the other was what I found more enticing as a writer. Besides, I had written many landscape poems I could draw from. Swami’s insight from her first visit to India, that the reason Hinduism had so many gods was a reflection of the ways each locale had a distinct vibe. The Yakima Valley and the Cascades were unlike anything I had experienced in the eastern half of the U.S. Especially the vast spaces you never see in a movie or read about in a book. And there I was with my new bride.

My inner drive was to better understand – and remember – the events leading up to what I thought was near perfection, my Promised Land. Except that it all blew up after four heady years, and we retreated eastward in haste. Now, six years later, I was trying to make sense of everything, and writing is my primary tool of thought.

One big hurdle was that I still had too many unresolved issues to provide clarity on the relationship struggles. I couldn’t see that the darling I thought every reader would find fascinating was, in a wider view, dislikable.

The plot – and the manuscript – kept growing by the proverbial pound.

Baltimore for me was so many lonely nights broken periodically by sex that wasn’t with my beloved. The whirlwind who came after the marriage. The one others have called my one true love. If only she had been true.

~*~

I really should go back to my journals to get a clearer sense of what I was going through both as I drafted it and also during its revisions. I suspect the reality would be painful, even embarrassing, and as I write this, those volumes are wrapped in plastic under the house renovation. Maybe that’s for the better.

What was I even originally calling the manuscript?

What coalesced for me was the many dimensions of the word “promise,” including the wedding vow, potential, and what I saw as our Promised Land. And then I had the flash of ending the book on a shocking note.

Well, so had much of my life.

I suspect that I spent far more effort than I’ve thought on the novel that now stands as Nearly Canaan.

Somehow, I even had a round with a real literary agent, who ultimately passed on the project.

During later revisions in New Hampshire, the big blob of material I had in hand turned into three parallel volumes – Promise, Peel (as in apple), and St. Helens in the Mix. And I was wondering about my subsequent engagement and the young woman I thought was a perfect subject for later. (I now see how banal that would have been.)

Would the project have been any easier if I had all the facts rather than empty denials and evasions? What if I had steered this more into the fantasy realm, perhaps having the earth magically speak directly to Jaya? Or broken it into a sequence of short books, each with a sharper focus?

A very bruised journalist, alas, was still at the helm, one still engaged in a difficult, painful exile and trying to report on the facts before me.

~*~

I’m trying to recall books and authors I was reading at the time, especially ones that might have nurtured this project. What comes to mind are Ann Tyler (I can smell the back entry of some homes in her Roland Park section of Baltimore); the Random House Vintage Contemporaries series edited by Gary Fisketjon and writers like Jay McInerney (Ransom more than Bright Lights, Big City) and Tama Janowitz; beyond that, Larry McMurtry, Tom Robbins, and Joan Didion; as well as Calvin Trillin’s U.S. Journal letters from here or there in the New Yorker. I also had John Nichols (Milagro Beanfield Wars), Ken Kesey (Sometimes a Great Notion), Edward Abbey, and Ecotopia.

~*~

Promise came out as an ebook at Smashwords but went nowhere. Rather than pay for covers for two companion volumes, I released them as PDF freebies at my Thistle Finch imprint, only to find nobody was downloading anything that big. Ditto for the full-length poetry collections. There would be a major refocusing of the offerings.

Recalling some favorite magazines

~ Jnana Hodson ~ Leave a comment

As an editor and a writer, I’ve long been inspired by a stream of classy, glossy magazines with outstanding illustrations and design supporting sharply edited, masterful writing.

In this category, I’m skipping over purely literary periodicals, even the ones with deep pockets, as well as newsweeklies and many other kinds of magazines.

The ones I’ve admired, as I’m seeing now, all reflected a single editor’s voice and vision, not that I remember all of their names now. Maybe that’s for another Tendril.

For now, here’s what I mean.

  1. The New Yorker. The writing and editing, of course. I was captivated way back in high school – the staff of the Hilltopper even gave me a year’s subscription when we graduated – and still a delight in my retirement, maybe even more, in its current direction. Still, there’s no way to keep up. I should mention, in passing, its assiduous fact checkers, a vexation for many famed writers.
  2. Fortune, back when it was big and classy. Big? The pages were large, like 10 or 11 inches by 12 or 13 inches deep — often on high quality paper, and each issue was fat and thoughtful. Artists were commissioned to create portfolios, with authors to match. It definitely reflected wealth and luxury, unlike other business publications, which often felt pinched. And then the U.S. Postal Service began charging extra for oversize mailings, leading many magazines to shrink their formats. Titles like Life, Look, and Vogue lost their impact, and photographers, especially, took a hit.
  3. New York. Originating as the Sunday magazine of the New York Herald Tribune, this one took off on its own in 1968 after the newspaper’s demise. Brash and definitely connected to everyday life on Manhattan streets, it was an avatar of New Journalism and Push Pin graphics. Still has that cutting edge.
  4. Esquire. By the late ‘60s this former cheesecake vehicle had evolved into a champion of New Journalism and high-impact graphics. Some of the covers remain classic. More recently, Vanity Fair continued in that vein until its solid content evaporated in a demographic desert.
  5. Evergreen Review. Another of the late ‘60s blossoms, this one had a West Coast perspective, openly leftist leanings, and literary ambitions, including Beat poets. Its cartoon serial “Phoebe Zeitgeist” became an underground cult item of a scandalous sort.
  6. Playboy. As a matter of candor, consider its now-classic interviews, plus the fiction, and, yes, the cartoons, a nearly extinct venue these days. The photography was often masterful, no matter the content. The editor in this case did go on to become a pathetic caricature of himself, reflecting the vapid “philosophy” he was espousing.
  7. GEO. This hip German-based alternative to the National Geographic debuted in 1976, distinctive for its green-bordered covers, trend-catching photography, and progressive topics and awareness. The English editions blossomed and then trickled from sight. Much of it, like the international hippie roots it reflected, looks dated today.
  8. New England Monthly. Published from 1984 to 1990, it was an epitome of ambitious, sophisticated, city- and region-based magazines that flourished during the decade. It ran into an identity problem when big advertisers wanted a Greater Boston focus, while important regional issues spilled over into western Massachusetts and Cape Cod as well as Connecticut, Rhode Island, Vermont, New Hampshire, and Maine, where subscribers existed. The final edition featured a devasting account of the high-level executive arrogance regarding the Seabrook nuclear power plant in New Hampshire led to its corporate bankruptcy, rather than the commonly blamed regulations and enraged environmental protests. After revenue shortfalls shuttered the magazine, some of its writers went on to stardom.
  9. Elle. This upstart to established fashion bastions Vogue and Harper’s Bazaar was actually founded in 1945 in Paris as a newspaper supplement but came to prominence with a monthly American edition in 1969. Propelled by Gilles Bensimon’s inspired, fresh, even exciting photography and sharp page layouts that delivered in tight spaces, there was no mistaking this entry from its rivals. Another upstart, Sassy, a feminist teen platform aimed at well-healed Seventeen, lacked gloss and polish but sizzled on editor Jane Pratt’s brilliant assignments from 1988 to 1996, when it finally succumbed to a longstanding boycott by an evangelical women’s organization. As a former lifestyles editor, I found Pratt to be most refreshing.
  10. Harper’s. These days, it rules the roost for me. Its monthly index of seeming random statistics and trends, toward the beginning of each issue, even provided inspiration for these weekly Tendrils.

Acid test novelist: Kurt Vonnegut (1922-2007)

~ Jnana Hodson ~ Leave a comment

When I first encountered his writing during the fall of 1968 at the recommendation of a friend who was attending a college elsewhere in Indiana, Vonnegut was a breath of fresh air. I loved the sassiness, hipness, and dark humor of books. They had none of the pretentiousness of serious literature but were seriously satirical.

Besides, he was writing about the heartland of the neglected Midwest, at least at one point in each book. God Bless You, Mr. Rosewater nails the milieu and remains my favorite.

Overall, though, I feel an overarching nihilism negates a redemptive mission for his work. As for the gimmicks? Let’s just say this former favorite has shrunk in my estimation over the years.

Employment is a big thread running through my fiction

~ Jnana Hodson ~ Leave a comment

In my parallel universe, my real-life life, newspapers were caught up in technological “advances” that kept setting us back. Those changes had started well before my sabbatical break, but they were speeding up. Back when I was starting, perforated teletype tape meant we really couldn’t edit stories we received from the Associated Press or United Press International or similar services. And then scanning of typewritten pages made improving even staff reports physically difficult. After that came the early stages of computer screens and keyboards, where editing took about three times longer than it had with a pencil – moving that cursor around took more effort, certainly, and computer crashes were commonplace. These were all matters that impacted the emerging story of Hometown News, though I believe anyone working in a large business office would have parallel experiences to relate.

We forget how much reliability our laptops and PCs have gained. Does anyone else remember losing a draft to a static electricity spark that then erased whatever was on your screen? Or, for that matter, when it was a bigger power outage?

I could detail the shifts from letterpress and hot type to pasteup and eventually pagination or from typewriters and linotype machines to early computers to, well, the digital devices we have today or from letterpress to offset printing and now digital editions skipping paper altogether.

Or similar leaps in photography, as we see in following Kenzie.

~*~

Paid work occupies a large part of most adult lives. Even when it doesn’t, how we handle our money, wealth, time, and so on is a highly emotional issue, no matter what the dismal science of economics insists. (For that line of useful inquiry, go to the Talking Money series on my Chicken Farmer I Still Love You blog.)

I just couldn’t create characters without their having jobs. Well, most of them – the hippie farm had some of dubious means.

Besides, so much of a typical male’s identity and life purpose is tied up in his job, especially when he can take pride in it. The job even defines his social circle.

I didn’t want to add another book about a hopeful writer to the literature. What a cliché. Or a musician or actor or even a painter. How about a plumber or fireman or circus clown?

But I still needed a witness figure for the history abstracted to fiction that was before me. I defaulted to using a photographer, in part because I had wished I had taken up a camera, if only I could have afforded the time and a darkroom, blah-blah-blah, and in part because I had been a serious visual artist in high school. You can see those elements developing in Daffodil Uprising and later coming together in What’s Left, but they also play out in Pit-a-Pat High Jinks and Subway Visions. I’m a highly visual guy in my awareness and thinking, OK? The fact he was employed at a newspaper is one part I couldn’t evade.

I still value novelists who manage to set their story outside of the writing world, and that includes universities. Charles Bukowski gets points for me for his novel Post Office. Well, I guess that’s also where genres kick in, too. They’re about detectives and spacemen and billionaires and cowboys and so on.

Photojournalist? At the time of the first draft of Subway Hitchhikers, I didn’t have any models to draw from, but that quickly changed. I wound up working with some of the best in the business.

Over time, photography, the kind that required light meters and F-stops and film and darkrooms, became ancient history. That part I would have to intensely rework and explain as my books underwent revision, thanks to Cassia in What’s Left.

In contrast, Hometown News was primarily about work. I had no problem in this case where everything took place at a newspaper plant, though the economics of the surrounding community also emerged as a central thread.

Jaya became a more difficult case. Her career in the early drafts was drawn from my newspaper offices and hours, now vaguely abstracted to management in general. It would get more specific in the revised titles, where she specializes in nonprofits management. It’s a real job description in a major component of the economy. For that flash of inspiration, I could look to one neighbor in Dover and the impact she had statewide in peace and social justice matters.

Acid test essayist and poet: Kenneth Rexroth (1905-1982)

~ Jnana Hodson ~ Leave a comment

Indiana-born in the shadow of Chicago, Rexroth’s childhood took place in a liberal household filled with socialist activity in the years before the First World War. The radical network across the Midwest that he details in his Autobiographical Novel will surprise most Americans, who believe it was confined largely to big East Coast cities. Not so, as he insists.

His family was at a less restrictive edge of the Brethren heritage, today a handful of pacifist denominations where some still resemble the Amish. It was very much a counterculture from its arrival in Colonial Pennsylvania and Maryland and on through the Civil War. While Rexroth himself headed in a much different direction, some of those roots continued to shape his actions and his religious questioning and questing.

Orphaned in his teens, he broke loose at 19, filled with anarchist thought and an IWW (Wobbly) identity, hitchhiked west, and worked odd jobs, including a Forest Service stint at the Marblemount Ranger Station in the North Cascades, where Gary Snyder would later spend several crucial summers in the high fire watch posts, as did others who came under Rexroth’s spell.

With a wife, a painter, he settled in San Francisco in 1927 as what his biographer calls “forerunners of the flower children who flocked to northern California during the fifties and sixties.” All along, he was notably active in civil rights, anti-war, and feminist circles, along with jazz and Buddhist influences. His book, Communalism: from Its Origins to the Twentieth Century, remains a fine overview of counterculture communities over the centuries. In some of these circles, he was aligned with Brethren, Quakers, and Mennonites, perhaps without being fully aware of the connection. His personal life, however, had its tangles.

His translations of classic Chinese and Japanese poetry are what first caught my attention, and still do. His own works are strongly crafted, often with an erotic strand.

He’s sometimes called the father or even the heart of the Beat movement, both as a mentor and as the MC at the famed reading at San Francisco’s Gallery Six in 1955, but it would be more accurate to call him a godfather of the Bay Area poetry renaissance that began blossoming before that and flourished for several decades after. Weekly readings in his house now sound like a who’s who of literature.

I remember that when he died, about the same time John Cheever did, Cheever got the accolades in the press while Rexroth got brief mention. I still think they had it backward, considering the lasting influence of each.

When a fictional scene can use a shot of reality

~ Jnana Hodson ~ Leave a comment

While I’m thinking about visuals, let me mention a few ways they’ve helped me in creating my novels.

Not to slight dialogue, even when you nail it, or, for that matter, narrative, but a visual detail can be a great way to spark attention in a character development or a scene. It can make a passage visceral. It can rescue a connecting passage that’s gone flat or leaving you floundering for just the right idea.

I don’t know about you, but my memory overlooks a lot of telling specifics in the history I’m investigating. It’s not just memory, either, but so much that should be obvious but we simply block from awareness. That’s where I’ve found photographs to be a great prompt. Sometimes they even provide data, as my Orphan George blog demonstrates in posts examining family photos, when they’ve been available. Other genealogists can weigh in on ways snapshots and portraits have provided crucial data.

Through many of my moves, I didn’t even have a camera. I have no shots of many of the people who were central in my life, not even some of the lovers or places I’ve inhabited. The shots can counter my tendency to idealize. A bit of grit can restore some reality.

In the process of writing and revising my novels, I began collecting photos from magazines or other sources as prompts. This character in my book (often they’re a compression of several real people) might look like the one in this photo or wear something in that. Or here’s a small-town square that would work. They even allowed me to reconstruct a darkroom for Kenzie.

The Internet, of course, has made this backgrounding much easier.

Come along on a funky little camping trip with me

~ Jnana Hodson ~ Leave a comment

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)

~ Jnana Hodson ~ Leave a comment

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

~ Jnana Hodson ~ Leave a comment

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.