Tag: Literature

ONE LIBRARIAN’S TAKE

~ Jnana Hodson ~ 3 Comments

Perhaps you’ve heard someone tell another, “You should write a book about that,” relating to some personal experience they think would become a bestseller.

Neither of them, however, actually reads books, even if they expect others to do so.

Sometimes one of these individuals actually does crank out the manuscript and even self-publishes it (not that self-publishing is intrinsically wrong, mind you – just that one needs to be aware of the perils that route takes, whether it’s in the traditional bound paper editions or in the newer digital ebooks).

A neighbor came across one of these paper versions a few months back and decided to ask a librarian acquaintance for her reaction. After reading a page or two (often that’s all it takes), she sniffed: “This reads like somebody who doesn’t read books.”

How telling. How telling, indeed, even before we get to the swollen ego.

 

NATURALLY, AT LAST

~ Jnana Hodson ~ 6 Comments

The Barometric Pressures author series at Kind of a Hurricane Press has just published In a Heartbeat, a set of 20 of my poems arising in the animal kingdom. As you can imagine, I’m delighted. Let me roar and crow, if you will.

The set occupies a much different tone and style of my writing from what you’ve previously seen. It ranges from television cartoon characters to ancient mythology as it traces our interplay with our fellow animals across the earth, under the sea, into the air, and throughout our imaginations.

Here's the cover.
Here’s the cover.

This 35-page echapbook is available free from the Barometric Pressures author series at Kind of a Hurricane Press.

If you decide to print yours out, you might even want to select a fancy paper to make your copy unique.

Let me add, that way I’ll be even happier to autograph yours when we meet. But first, for your copy, click here.

TRULY CORRESPONDENCE

~ Jnana Hodson ~ 2 Comments

A while back, while reading a selection of letters by the itinerant Quaker minister Elias Hicks (1748-1830), I was impressed by the length and quality of some of the individual correspondence. These were pieces that could have been published essays, yet were addressed to a specific individual – pieces, I should add, from a farmer by trade.

I’m left wondering about the amount of time some Friends (and others, of course) spent daily or weekly in reading and writing as well as reflecting on the issues at hand.

Don’t tell me it was a slower era or that they had more time to employ – labor was more demanding and often tedious, after all. I think something else is at play here.

As I said, I’m impressed.

MAKING TIME FOR THE WORK

~ Jnana Hodson ~ 2 Comments

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.

PUBLIC MAGAZINE SWAP

~ Jnana Hodson ~ 3 Comments

One of the most popular services at our local library is a small cart in the hallway where patrons leave magazines they subscribe to. The periodicals become free for the taking.

Considering the cutbacks in the library’s own subscriptions (accompanying the cuts in the hours the building’s staffed and open), it’s a major service.

We feel good leaving our now-read copies, and feel grateful when we pick up others for perusal.

It’s quite an impressive array still coming in the mail. Hip, hip, hooray!

OH, YES

~ Jnana Hodson ~ 3 Comments

 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

~ Jnana Hodson ~ 2 Comments

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.

CHANGING STYLE, CHANGING TASTE, CHANGING DIRECTION

~ Jnana Hodson ~ 2 Comments

Driving any of my back routes to the beach, I pass impressive houses that have views of the water. Often, they’re old estates reflecting established money. Some are infused with history. Some are large, with four or more chimneys. Others are cozy cottages with four-season porches.

For much of my life, I would have dreamed of owning such a place.

Lately, though, there’s been a sea-change in my perspective. Part of it is no doubt my arrival at a point in life called retirement, although for me it’s been more a matter of culminating focus on the Real Work, as the poet Gary Snyder calls it. Another part of it has to do with stripping away all of the competing visions of where I thought my life might have been heading. The two dovetail, actually.

When I was starting out, I held often contradictory goals. As one date once admitted, she couldn’t decide whether I’d been in a corner office in a Manhattan tower or in an artist’s garret 10 years hence, and she wasn’t far off the mark, even before the ashram intervened.

Of course, the corner office and the house overlooking the water both assume a sizable income, and that was never in the offing for a journalist unless I somehow became publisher at a young age. Unlikely from the outset, but all the more so once the hippie movement kicked in.

Even so, as a writer, there was always the dream of the blockbuster novel that became a hot movie, but my work kept veering more and more toward the experimental while the publishing industry kept constricting. You get the picture.

You could add to that the possibility of a wealthy girlfriend or the talented one whose career took off big time, but both of those went up in smoke. Or whatever.

Come to think of it, the dream wasn’t just about houses. You could figure in the shiny cars, too, or a sailboat or global travel.

The vision, as it turned out, included an entire lifestyle. An exteneded family with a handful of my own kids, at the least, running around. Many friends and business acquaintances, along with political connections, all coming to stay in the guestroom or guesthouse. A fully stocked library with an impressive collection. An art collection, too.

What it didn’t include was the life I’ve wound up living. Much smaller scale. As a writer, what I really require is blocks of uninterrupted time and solitude. Let’s be honest. A studio can be not much larger than a closet, for that matter.

As for the big place? It would need household staff, for one thing. And a long list of handymen.

What I have instead is an old house and its barn in a small city, along with a common car with 250k on the speedometer. It’s more than enough to handle, even before adding the family.

On top of it all, I also have a shelf of books with my name as author.

WORKING BEHIND THE SCENES

~ Jnana Hodson ~ 2 Comments

For me, one line of career growth involved a growing recognition of the importance of working behind the scenes. As I watched the conductor Max Rudolf eschew stardom and New York for music-making in Cincinnati, I perceived something quite different from Leonard Bernstein or Herbert von Karajan’s being in the celebrity spotlight. Similarly, Glenn Thompson, the first editor to hire me, had a knack for giving other people credit for his own ideas and visions, and then pushing them forward to completion – including the new Wright State University I attended my first year and a half of college. Glenn, too, was the one who impressed upon me the importance of keeping a personal journal.

Another line stemmed from the illustrations accompanying profiles of serious authors that showed intensive revision of a single page of work. This was much more complex than daily deadline writing, even when the copy desk had finished its round on the text itself. Extended interviews, such as those in the Paris Review, demonstrated how vastly different individual writers functioned, too: fastidious Nabokov, for instance, contrasted to runaway Kerouac.

Still another line reflected economic changes. A few months before my graduation from college, the Wall Street Journal, which had expressed interest in hiring me, instead laid off several hundred reporters and editors. Rather than moving to a big city, as anticipated, I wound up laboring in out-of-the way communities, which presented me with other experiences and insights. As my career grew, I worked largely behind the scenes, editing other people’s writing and presenting the day’s stories and photos for our many readers. I was fortunate to have a series of bosses I admired and respected, and making them look good was also one of my priorities. Again, it was working behind the scenes, an approach I later realize had also been my father’s. In the long run, the economic changes have continued to buffet the publishing industry, from books and magazines to newspapers themselves, all struggling against decline and marginalization. Over the years, we’ve watched the declining importance of reading and writing among the general populace: the term “famous novelist” going from Hemingway and Faulkner to Mailer and Heller to Stephen King and Anne Rice, for instance. Or who now can name a newspaper editor or publisher, after the likes of Scotty Reston, Ben Bradlee, or Vermont Connecticut Royster? Or a major poet, after Ginsberg or Plath?

From my college years on, I’ve taken a route tempered by the hippie influence, which initially challenged many of my assumptions and goals and led to the yoga ashram instead of graduate school – or even law school, which had once appealed. The ashram practice worked to crush much of my ego, instilled a degree of humility, and opened me to spiritual awareness and discipline, before sending me forth again on a journey that eventually brought me into Quaker circles, or the Society of Friends, which I much later discovered was the faith of my Hodson ancestors. Crucially, the practice of meditation – first as a yogi, and then as a Quaker – also opened an appreciation and understanding of poetry for me in ways the classroom could not. Maybe it was just the silence as a breath of light.

In my personal writing, what has unfolded is more a practice of meditation, reflection, collection of otherwise random thoughts and feelings, and inner playfulness, than a quest for any “finished” product. Not that a set of poems or a polished novel in hand does not also give pleasure.  So here we are, backstage, as it were. Or, with the blog, in the loft. Not a bad place now, is it?

BUSINESS AT HAND: IN THE MINUTES

~ Jnana Hodson ~ 3 Comments

Much in our Quaker practice seems quaint, none more than our practice of minuting. It’s not the same as taking minutes of a company board meeting or city council session, but has a dimension all its own. Originating in the recording of persecutions in the initial decades of the Quaker movement, and in the subsequent petitions for redress and justice, our earliest minutes tell of “sufferings for Truth’s sake” and soon lead into the efforts of determining just what it means to live as a people of conscience.

Sometimes today we find the practice burdensome or unnecessary. Friends who follow the Old Ways in this matter will draft and read aloud the record on that part of the agenda, moving ahead only after that minute has been revised to satisfaction and approved. It’s slow and tedious, but it does focus the deliberations.

Here, the concept of clerking – especially for the recording clerk – has a meaning related to “clerk of court,” where the official records decisions from the bench above. In our case, Friends traditionally feel the high judge as Christ, and the meeting gathered as witnesses who would voice the sense of the resolution. I suppose we might see Friends attending our business sessions as a jury, then. If it were only as simple as guilty or not guilty!

Revisiting historic minutes, as I’ve done as a genealogist in the archives at Swarthmore and Guilford colleges, opens an appreciation for the practice as an art form. Perhaps no other records in America before the 1850 Census offer as much genealogical information as ours do. Even so, one discovers how faulty even the best efforts become. A individual simply fades from sight, a family moving away is recorded simply as “Robert and Sarah and children,” rather than naming them individually, as another clerk might have done, or the records might be lost to a house fire, as Centre, North Carolina’s, were, or simply lost altogether, as the first half-century of Dover’s were or West Epping’s were in our own lifetime. You might see an erasure, from first cousin to second, or a misspelling – and suddenly, you find yourself sitting with that clerk, somewhere in our history. This becomes something other than quaint, but personal engagement.