Let’s start with the prompt: Imagine yourself in the position you desire.

For much of my life, that had two conflicting scenes, the newspaper editor in his community in contrast to the successful novelist in a tweed jacket in a New York study or a poet in something more funky.

Much less for the supporting people my life, starting with wife and children?

When I last looked at the question, it essentially asked me to consider my early retirement years. How curious! The newspaper editor, at least, was out of the picture.

At its core, I craved recognition (affirmation!) – after years of largely reclusive labor. But which circle did I most want to recognize me – hip, alternative culture? Quaker, international literary, Seacoast New Hampshire? At some level, perhaps, it was also wanting to visit Dayton and be known even there – or to hear again from many people I’d known and lost contact with in my relocations. The Quaker world is awfully small and restrained, especially with its three sharp divisions. The literary world, meanwhile, has so many high priests and exclusive emphases – could I move among them? Yet, if the Society of Friends is to survive and grow, I needed to move beyond its confines and reach out to a wider audience. In a larger sense, then, my recognition would be as one who brilliantly bridges these disparate worlds. If only.

I did imagine a significant amount of time would be engaged in travel – public readings, workshops, conferences. Eight weeks a year, split between Quaker and literary? Perhaps an additional retreat or camping trip? The travel could also include three-day weekends for symphony, opera, and galleries.

I also imagined having three books published on paper each year – one of poetry, one of Quaker practice, and one of fiction or memoir/genealogy. (They were already written.)

The rest of the time would be correspondence and basic living, including a social life, concerts/plays/etc.

I do believe such reflections are important in channeling what might otherwise be simply drifting through life.

So back to the questions.

Define what you are trying to accomplish. Be clear about what you’re setting out to do. What problem are you trying to solve? What new ground are you trying to break? What will happen if you manage this well? What will happen if it isn’t managed well?

I would have said, Brand myself as the leading new Quaker voice – or at least an original Thinker. (Think of Bill Stafford in the Church of the Brethren, Wendell Berry, even Mary Oliver the Unitarian – who has emerged since?) What I want to do is bring Quaker theology into the center of contemporary thought and discourse, and then to renew the life of the Society itself. The poetry and fiction add to my credibility as a writer.

Well, that has slipped past me.

Now for another hard question.

Who do you think would play me in the movie version?

~*~

You can find my surviving novels in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. They’re also available in paper and Kindle at Amazon, or you can ask your local library to obtain them.

Assuming that you’re an active reader, let me ask where you’re obtaining your books of interest. With a thousand or more new novels every week, you can’t possibly keep up there. As for bookstores, there are only so many shelves. Ditto, public libraries.

Some of those stores and libraries do have sections where their employees recommend new volumes, and I applaud that, even while physical bookstores fight for survival.

Goodreads is another option, though also quite crowded.

For commercially released works, the New York Times reviews and a few other sites are key to the latest.

But my interest – and work – falls outside of that realm, and I do believe the real action takes place at the fringe.

Quite simply, I see opportunity for a dedicated reader – especially a recent graduate in literature – to set up shop online as an informed critic in a specific vein. What I’ve seen too often among the bloggers who review is gushing froth about stuff they like, akin to movie fanzines, rather than any critical detailing of why something soars above the pack or even why others fail. They don’t say what makes the piece they’re praising truly stand out.

The ideal I’ll acknowledge is the French film magazine Cahiers du Cinema, founded in 1951, which ran only pieces extolling new work of merit, rather than all new movies. It gave rise to a new wave of cinema, one based on daring directors rather than the film actors aka “stars.”

~*~

Real change originates at the fringe of society, not at the center. It typically develops in obscurity, sometimes flashing into widespread recognition and acceptance, and that’s been true in literature over the years.

Rarely will truly adventurous pages be found through the bestseller lists, but when one does break through, then everyone – writers, readers, publishers, and booksellers – will be in pursuit. Imitations will abound, as well as new labels and genres for marketing.

So how do you find fresh books and their writers, the kind who turn you on, fill you with a sense of discovery and make you want to tell everybody you know what they’re missing?

The history of novels is filled with instances of canon masterpieces that were rescued from oblivion by a single critic, either in a pivotal review or by sustained championship. And nothing beats word-of-mouth by a few fans.

So here we are, in a remarkable period of access for both readers and writers, thanks to digital advances. The problem is that there’s so much, there’s no way to keep up.

That’s where a few celebrity critics could step in.

~*~

Sometimes I regret writing novels that are “out there.”

It could be fun writing sharp reviews of many lousy books if I weren’t facing retaliation. (By idiots.)

Still, I feel it’s an opportunity well worth examining for an enterprising young English major graduate: sorting through the eruption of new writing and signaling what might be worthy of further examination.

By the way, online I usually don’t click the button on “pages” or “posts” that have more than 20 “likes.”

Like what is this, a popularity contest?

Still, on the receiving end, it is nice knowing that some folks are at least seeing this. Better yet is when you know that someone else “gets it.” Or, as I originally wrote, “Digs it.”

~*~

So back to the opening question, How are you finding the writing that excites you?

Are there any websites you would especially recommend?

Here’s your chance to give a shoutout.

More directly, the question comes down to this: What makes my work unique? What makes me unique? (My niche?)

As I once would have answered, somewhere back along the path to here:

“My work largely seeks to map organic geo-history, the overlapping energies of a locale and its spirit(s), as truthfully as I can, however fragmentary the result. Since personal relationships, including marriage, appear as places hovering within this landscape – both influencing and influenced by the larger ecosystem – I investigate them often with a concern for the larger, more timeless harmony (Logos).”

My, my, what can I say about that now? Or:

“This investigation of the invisible vibrations has also led me to cherish alternative cultures that embody healing energies – Native cultures, Amish, Mennonite, Quaker, and so on – in contrast to our increasingly rootless, violent, unstable society at large.”

As for the question, “What do you want to be different after this effort? This project?” Well!

“I hope to renew an awareness of the wonder of the universe and an appreciation for our own unique places within it. Out of that, roots and a radiance of peace.”

Or: “How do you want to be remembered? Then think of your customer (reader). What exactly do you want people to say when they speak of you to others? Are you representing your quintessential self consistently? (Image is everything. Brands need an unchanging core.)”

And so, to continue: ”Jnana – a unique, distinctive name – reflects my originality in bridging of many diverse currents into a larger vision. Compression, clarity, highly polished with a raw edge.”

Or a mission statement?

“I summon others to join our waiting Quaker worship and community. (This is how I got here and what I’ve experienced along the way to Truth … ) (Look for young adults, especially.)”

What have I not asked that people ought to know?

“I am part of a generation that has not come to terms with its hippie past – both positive and negative. While we’ve retreated from the general effort to push the envelope, to advance to Edge City, to demolish boundaries, we’ve also failed to examine what we learned and carry from that experience. Instead, there’s a society-wide state of denial that is bound to erupt in unanticipated ways – likely, without any sustaining wisdom.

“When radical currents from both coasts connected in academic nerve centers in the Midwest, furious confrontations erupted, overturning repressive constraints of institutional America.

“The hippie movement that is usually thought of as the Sixties actually appeared most fully during the Nixon administration, 1969-74, and brought changes that younger generations now take for granted.

“Crucial to the outcome were personal transformations that few today will speak of.”

~*~

Well, that’s some of what I’ve wrestled with in my zig-zag journey to here. Other writers will have to speak for themselves. Some of my responses sound today pompous and airy, but I’ll leave them at that for now.

A writer is allowed to aspirations, no?

~*~

You can find my novels and poems in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. They novels are also available in paper and Kindle at Amazon, or you can ask your local library to obtain them.

In being held aloft as the epitome of English language and arguably world theater, too, the Bard of Stratford on Avon stands as an overbearing, even oppressive, figure.

Any writer since has faced the reality that by definition no one else can measure up, period. The fact that others have managed to carve out niches in the field in the centuries since is remarkable, considering.

Still, William’s presence was the reason I didn’t major in English when I transferred to Indiana University in mid-sophomore year. The department required a Shakespeare course predicated on memorization, something that’s not high in my skillset.

Beyond that, my focus has been on contemporary literature, at the time fiction and non-fiction but soon turning to poetry as well.

As a contrarian, I see no value in iambic pentameter, which we don’t speak, OK, and when I wrote in the form, the lines were always needlessly wordy. I like tight, direct, distilled, edgy. Later, the more flexible lines on Japanese poetry fit my ear as more reflective of American speech, at least as it was being applied by some West Coast poets. Count me in.

Not to deflate the Great Bard myth, but long ago I came independently to debunk William Shakespeare’s authorship of the plays. Nobody could have such an acclaimed vocabulary, for one thing, especially in the days before a thesaurus or dictionary. As for such a wide panorama of human values and foibles? Maybe it was a committee or at least a collaboration of greats – you know, a circle of improvisers whose takes were dutifully taken down as dictation – I was willing to accept that much. Sir Walter Raleigh has his backers as the likely author, and his poetry is more vernacular than his contemporaries, more akin to what we were doing in America in the 20th century.

Remember, though, having to memorize his plays, or at least the great moments, was the swing factor in why I majored in political science instead. Otherwise, I would have continually been trying to rewrite it. Instead, avoiding the Bard, I was still able to minor in English abetted by the Comparative Literature department.

More recently I’ve embraced the argument that Emelia Bassano Lanier was the actual playwright. From the existing evidence, she was better read and had a wider command of foreign languages. She likely had more time for composition, considering all the time Billy Boy would have been tied up as a theater manager, director, and actor. To pursue the fuller case, you can start by looking her up online.

~*~

For my own quirky entry here, I’ll remind you of my own Hamlet, a collection of poems spread over five two-scene acts with intermissions and intermezzos.

You might say it has more in common with Chaucer, though, with a rock ‘em, shock ‘em beat.

You can find it and more in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. You can also ask your public library to obtain it.