If it’s not personal, what’s the point? While I am talking about writing, in particular, let’s extend that to religion and politics and life in general, wherever we can.

Please make every effort to see those points where we may connect with mutual respect if we’re to advance the human condition. Period.

~*~

I’m left with the realization that my “serious” writing, meaning literary rather than the quickly perishable daily journalism, originated as contemporary poetry and fiction but now falls into historical.

So much has changed, it’s almost hysterical.

Photography, for instance – the career of a central character in four of my novels – no longer requires film, dark rooms and developers and enlargers, or light meters and F-stops.

As for rotary-dial telephones and thick books of people and their numbers?

Instead, I’ll start with the fact that America has never come to terms with its hippie past – positive as well as negative. At least my cool end of it. I’ll let the uptight ‘Nam side defend itself. For my side, it’s like we’re scared or embarrassed of what opened our hearts and minds. While we retreated from the general effort to push the envelope, to advance to Edge City, to demolish boundaries, we also failed to examine what we learned and carry from that experience. Instead, there was a society-wide state of denial that was bound to erupt in unanticipated ways – likely, without any sustaining wisdom. I’ll insist that’s why the nation is in the state that it is now.

For now, my novels stand as a witness to that era and experience and the root of many changes for the better we take for granted today. I do wish there were more voices to tell of that revolution, thwarted as it eventually was. Histories, whether of the scholarly sort or as the art of its time, sustain societies.

~*~

To that let me note that daily fresh air essential for my well-being. The outdoors counteracts feelings of entrapment or engulfment and depression I’ve been susceptible to otherwise. I need to get a taste of wild nature – my feet on the ground, my fingers in the soil, my eyes on the horizon and sky.

It’s part of my spiritual recalibration, even when I was living in the yoga ashram in Pennsylvania’s Pocono mountains.

In this, every day counts, good weather or bad.

~*~

Personal relationships have certainly changed within my lifetime. My parents’ generation suffered many more unhappy marriages in contrast to today, though many youths at the moment have only an envy of deep connection and commitment.

My love poems of the turbulent ‘80s and ‘90s stand as witness to that transition, as do my novels Daffodil Uprising, Pit-a-Pat High Jinks, and Nearly Canaan.

~*~

I am embarrassed for Ohio and Indiana since I’ve left. They had such greatness and potential.

~*~

You’ll find my 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.

Fictional characters don’t come out of thin air, as far as I’ve seen. Instead, they’re prompted by real people the author has known and then, to whatever extent, abstracted. Better yet are the figures who emerge when two or more of these prototypes are crunched together.

Not uncommonly, over the years between the initial events and the revisions leading to the published book, I’ll even lose the original names (in part or in full) of individuals who prompted the eventual characters.

Still, I’ll venture that all the people in the worlds of fiction, cinema, and television were somehow inspired by real people. Forget the obligatory denial you view in the credits.

The writer’s job is to abstract that into something more universal and eternally new.

That said, I was recently startled to get a message relating that one inspiration was now 87. Here I had thought him “older” as Wes in Nearly Canaan, but now see he was in his early 40s at the time. And riding high, as I recall with admiration.

Photos of colleagues in the newsrooms that prompted Hometown News or in the Workshop in Political Theory and Policy Analysis at Indiana University – details that infuse Nearly Canaan, The Secret Side of Jaya, What’s Left, and likely more – have all elicited the shocking realization of how young we were at the time. Even our leaders.

Ditto for the ashram that inspired Yoga Bootcamp or the ghetto and hippie farm of Pit-a-Pat High Jinks.

The events that propelled the novels came in times of great upheaval in my own life. Like me, I think you would be surprised to learn that most of the Pacific Northwest is desert – that the famed rainy landscape occupies merely a narrow band around the ocean and its inlets. Yet the desert is where the apples – and much more – are grown. It’s a remarkable region, with four distinct seasons and cowboys, Indians, miners, and much more in the mix.

In the broader scene, my professional relocations meant that personal connections from one locale to the next soon ceased, meaning that individuals from one to the other became frozen in time. For me, everybody in high school was frozen in time, as were others in the later leaps.

Reconnecting with a few has felt strange and yet invigorating. As more than one has exclaimed, it’s like nothing has lessened in the gap.

~*~

You can find my 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.

Prodded by a crusty newspaper editor-in-chief to keep a personal journal, I started the practice 55 years ago using spiral-bound notebooks. At the time, I was largely in quest of exploring “my problem,” meaning the deep depression and loneliness that followed the breakup with my first lover and my inability in social circles to find another. Long story to pick up later.

What I found instead was the manic upside in my funky settings during the hippie outbreak. Many of those entries, some of them in my favored 8½-by-14-inch notebooks – an option that disappeared all too soon from the market – found their way into my eventual fiction and poetry, though much of the rest is dross. At their best, they do have a sense of Richard Brautigan. Look him up, if you must.

As for the banal run of most of the entries, people who snooped into my journals and then voiced their disappointment in what they found told me as much. Note to those of you who consider doing something similar, it is an invasion of privacy and will likely bruise your relationship. It is an abuse.

Entries were rarely a daily thing for me, more likely weekly or, of late, even monthly. When I sat down to do so, I was more likely to record what was going on around me than I was to delve into my emotions or underlying perceptions. Those latter elements might appear whenever I had more time at the project. The big lesson was that my life was much richer than I had suspected, and I was too prone to lose the connecting threads without these times of reflection. In some ways, they were like Lewis and Clark’s explorations across the continent, I suppose. Who knows who might need the maps later.

In earlier returns to these, I did find I had duly noted details of unfaithfulness and other impending disasters that I was denying to myself, yet there they are in clear daylight when we return.

Among my goals this year is a thorough revisiting of the 200-plus volumes to date, the latter half mostly  in hardbound 8½-by-11 artist sketchbooks. Most of what I review will be discarded, harsh as that sounds, but I the act will release emotional burdens as well. My novels and poems distill and carry much of that journey, thank you.

The ones beginning in 2000, though, retain so many details of my current situation, I really can use the reminders of things I don’t recall when they’re raised by others. I’ll let you guess who, especially.

~*~

My practice has definitely changed since I began blogging. Much of the recording of events, personal observations, and reflections has deflected from the hardbound journals to these online entries. Well, so has much of what would have gone into long letters to friends and colleagues now has vanished online as well. Emails and texts fall far short of real correspondence, OK?

The journaling on paper continues, though at my age, life feels more routine, less worthy of intense recording. So much of it I’ve already said, even to myself.  Still, as a practice, it’s one more thing I can see as prayer, too.

You’ll likely be seeing more of what I turn up in those yellowing pages.

Every writer has to face the question of knowing when a particular work is done, as in finished and ready to release.

The problem is that there’s always more that could be added or refined. Writing is, by definition, imperfect. In fact, the vaster the ambitions of a novel, for instance, the more imperfect it will be. Visit the critical examinations of the great novels Huckleberry Finn and Moby-Dick as prime examples.

The decision finally comes down to the line where the work releases the writer. The obsession burns out. You’re exhausted and feel you need to move on. You’ve said all you can say. You’ve discovered just about everything of relevance you can on the subject. For some writers, I suppose, it’s like the end of an affair.

For luckier ones, it’s when the editor or publisher demands the manuscript, ready or not.

~*~

I’ve previously posted on how my novels percolated over time. There was the sabbatical year I gave myself in Baltimore, where I lived off my savings and armed myself with a new personal computer with 5½-floppy disks (for you high-tech geeks with a knowledge of now ancient systems) as I poured myself into keyboarding rambling manuscripts in the search of publication.

When my savings ran out and I returned to the workaday world, I kept picking at those seminal drafts, usually on vacations and holidays. Other efforts at more marketable books also got attention and even a few nibbles, but in the end, none of them panned out. Working full-time, I simply didn’t have the additional open periods required for successful self-promotion.

I’m glad I didn’t wait until retirement, as so many others I’ve known did, to start writing those novels. The details and intensity would have evaporated. Instead, retirement played out in a different way and the novels did finally find publication.

My one fully new book was the one that grew into What’s Left, though it did start with piles of outtakes from the earlier novels as well as other material.

As I’ve also previously posted, it did eventually lead me to thoroughly revise and reissue those earlier novels.

The result is that I have eight books of fiction available today, and I am proud of them, even if they haven’t found wide readership or critical acclaim. Not that I wouldn’t welcome either.

~*~

I am struck by how much has changed for me in the seven years since then, some of it a consequence of the shift to digital writing and publishing. I don’t require as much space for files, for one thing, or for research materials and correspondence. What can be found online with little effort is amazing, as I discovered while writing Quaking Dover. I hate to admit I no longer keep a dictionary or thesaurus at hand.

Downsizing to our remote fishing village at the far end of Maine four years ago meant that I no longer needed a studio in the attic. A corner of a bedroom sufficed for some pretty heaving writing and revision.

It’s a far cry from the dream I once had of remodeling the top of the red barn into a year-‘round studio that included a custom-build semi-circular desk with me sitting in its center – something like the copy desks that were common to many newsrooms.

No need for that now, not even at newspapers.

~*~

The task for me now turns to cleaning out remaining files, both digital and physical, that are no longer needed. I don’t want to leave that mess to my wife and kids later.

One thing I’ll confess is that I doubt I have another novel up my proverbial sleave.

~*~

You can find my 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.

I doubt that I’ll ever get back to New York City in my remaining years. Even Boston seems like a rarity, though far more likely. Yet let me repeat my fascinating with subway trains and their tunnels.

And Manhattan was, after all, the center of publishing, including best-selling novels.

Tackle that from the perspective of where I live now, where the year-round population would fit on a single subway train. Add the flush of summer people and vacationers or even the cruise ships that visit and it still wouldn’t add up much more. Some of the visiting cruise ships would be like three or four trains arriving and totally discharging for a stroll around the village. A hiccup, then, in comparison to a Manhattan underground station.

My playful novel Subway Visions, grew out of my encounters in the Big Apple way back when.

As I once noted, growing up in a Midwestern city that was too small for rail mass transit, or maybe it was from an intellectual awareness of underground as a conduit of counterculture and spiritual wisdom, subways came to define a Big City for me and to symbolize the range of possibilities present therein. A subway transit system separates cosmopolitan from lesser cities. The trains are filled with real people – a cross-section of the populace between many diverse origins and destinations. As an underground, subways also present counterculture and surrealistic currents many of the riders fail to consider. Here, then, were snapshots from that route.

Later, with my wife and kids, came our outings in Boston and its MBTA.

Or my favorite Dover lifeguard’s revulsion and disgust after relocating to Beantown for college and having a drunken passenger vomit on her sandals on a hot, crowded platform.

So much for my perception of a carnival air.

Still, I think of subways the way I think of rollercoasters, even with our small downtown of boutiques, less pressured than the subway station settings of much of Boston.

Just how do those cruise ship passengers view our village, anyway?

You can find Subway Visions 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. It’s also available in paper and Kindle at Amazon, or you can ask your local library to obtain it.