THE NOVEL AS A TIME MACHINE

Anyone else wonder about the appeal of stories set in another century? Just what’s the attraction?

The future, of course, is one direction, a whole set of “what if” projections that for now cannot be tested against historical development. (Admittedly, Orwell’s 1984 certainly has become an exception in the years since I first read it, gee, was it ’64? As has the movie 2001.)

The past, however, seems to be the more romantic option, beginning with historic period romances and Westerns. I suppose it’s not that far removed from those who inquire of astrologers or palmists or mediums about their past lives, although what I’ve always found most fascinating there is how many people who do so claim to have been Cleopatra or Anne Boleyn or Helen of Troy or the like, rather than one of the common, suffering, exploited populace. No, the stories tilt toward royalty, court intrigue, the power struggles of the rich and mighty – the glittering elite far removed from everyday life. (Maybe that’s our fascination with celebrities, too, as if wealth and beauty leads to true love and happiness, not that it ever seems to hold over the long haul. In pure weight, tragedies trump over comedies.)

My wife sometimes jests that I would have been more at home in 18th or 19th century America, especially in a context of the Enlightenment, scientific advancement, and perhaps opera, along with a flourishing Quaker culture. (Never mind that the Quaker discipline of the time banned music and fiction as superfluous, vain, and untrue.) Again, though, the projection is toward a place of refinement, culture, and ease rather than the long, hard, physical labor of the masses.

So what, ultimately, is the attraction of historical fiction? Is there some time or place you’d willingly be relocated to, if it were possible, even if you could never come back? And, while we’re at it, what about the importance of location, even over time itself? Who and where would you like to be? Just what is it about other eras? Ah, the intrigue! To say nothing of the underlying connection.

FIRST, YOU READ

As long as I can remember, I’ve been a reader, thanks, especially, to a third-grade teacher who got it rolling and a fifth-grade teacher who extended the Landmark history volumes. Robinson Crusoe, Tom Sawyer, Gulliver’s Travels were all early triumphs. Curiously, Huckleberry Finn was easier at age nine than it was as required reading at seventeen; the second time around, the dialect was more difficult to handle. My general interests, however, soon veered from history to chemistry until the writing bug hit me through a very demanding high school sophomore year English teacher who drilled grammar so thoroughly we were diagramming 250-word sentences and arguing our alternative versions. She also solidified a tentative curiosity in my enrolling in journalism the next year, which wound up leading to my career path. In my senior year, when I was editor-in-chief of the high school newspaper, another English teacher confidently insisted, “You know why you write.” Followed by, “Yes, you do.”

In truth, I’ve never quite been sure what her answer would have been. I assumed she saw a desire to be noticed or appear important. But that’s not what I would have answered. I was, after all, a skinny intellectual in a school that valued football and basketball players. Moreover, my father’s side of the family – the ones I knew, since my mother’s parents had both died before my birth and the rest of her blood relations were in Missouri – had little use for either art or learning for its own sake. They were a practical, God-fearing people where a gift in language would be best employed as a preacher. (Lawyers were another matter.) Only after my father’s death did I learn he had once dreamed of being a sportswriter or the pride he took in my work as a professional journalist. When that flash connected with my grandfather’s saving copies of all of the Dayton Journal and Herald newspapers from the World War II era (“Someday they’ll be valuable”) and his mother’s lifetime of meticulous reading of the daily news could I finally perceive their approval in what I had come to see as a low-paying, and increasingly low-status,  occupation.

From them I also carry a deeply ingrained sense of social responsibility, one in which my personal relationships are often motivated more by duty than love. Here, then, my leap in concern from history to politics would seem natural. Little wonder the novels Animal Farm, Brave New World, and 1984 re-ignited a passion for fiction and what the written word can do. Politics is also the mother lode of journalism, especially for those of us who believe progress is possible through civic action. And so I might have answered Miss Hyle’s statement with, “I write to improve the world.”

~*~

(How audacious that sounds now, more than four decades later. How innocent, too.)

~*~

What she may have seen was unmistakable ambition – a desire to win for the sake of winning, apart from being noticed or appearing important, regardless of the game at hand. Winning as an act of self-affirmation. Winning as the reward for solving the puzzle faster than your rivals. With or without the laurels, trophy, or monument.

Secretly, though, there has been the hunger for a monument, the book in every home or library, the paperback cover in the supermarket and drugstore, the repeated praise in the New York Times Book Review section. Even, at one early point, the aspiration to have not just volumes of poetry and fiction but a play or musical on Broadway as well.

But then the plot thickened.

And how.

AN EXTENDED VIEW OF MY OWN VOLUMES

It’s now been 12 months since my first ebook appeared at Smashwords – a list that now presents six of my novels and a full-length poetry collection. That’s in addition to my poetry chapbooks appearing at other presses.

First, I want to thank all of you for your support and encouragement. What you’re seeing is the fruition of a lifetime of writing that’s now, finally, coming to light. I cannot imagine trying to write seriously without a desire to share it with others – especially when I hear you tell of ways it speaks of your own experiences or sparks related memories.

I also want to acknowledge the fact that these are not works I could write today, not for a decline in ability but rather because each of us evolves and changes over time. My energies, inspirations, perspectives, and focus are different now than they were 10, 20, 30, or 40 years ago. I look at these works and find much that is wonderfully baroque or surreal or passionately intense and realize I’m in a much different sensibility today – yes, I’m happy to have these souvenirs from the journey, these touchstones and treasures, but they come from my younger years and their visions and even the different companions who shared my life back then, in contrast to the household I cherish now. More than ever, I’m ever-so-grateful I set aside the time over the years to draft and revise then, rather than waiting for my retirement years as so many wannabe writers do.

Let me just say there’s much more coming in the next 12 months.

And thank you.

THE YEAR 1980

The earth itself is set to erupt.

~*~

Thunder pealed again, and everybody packed up. Outside, Roddy and Erik danced in the eerie dusk. A soft drumming in trees sounded like drizzle, but instead of water, powder fell. Everyone appeared amazed, even elated. Weren’t we fortunate to have a volcano blow up in our face! Then Jaya recalled history: “Oh, Pompeii! Will guides conduct tours here, showing the world exactly how we victims perished? Is this the way our world will end?” Something gripped her, insisting they get home or die in the effort. She dragged Erik, protesting, to the car and raced through the grit. Autos in front of them were invisible, even their taillights, until Jaya was almost atop them. The ink blot overhead closed in on the far horizon, sealing off the last natural light. Plunging through this tar-paper snowfall on a route they knew so well, Jaya recalled the many times she had joked about being able to drive it blindfolded.

Promise~*~

To learn more about my novel, go to my page at Smashwords.com.

AN ILLUMINATING DIALOGUE

I’ve suggested meeting with some of the historic Friends sitting on our meeting library shelves, and mentioned the possibility of finding one or two who converse intimately with you, usually in the English of another era. (I’ve seen this happen rather frequently, even if it takes time to find the unique voice.) In this sense, one or two may become timeless companions in your inward growth. Or maybe an old Quake is simply a mentor along the way.

Knowing them can also help us as a PEOPLE of faith. Their range of experiences and concerns provides insights into other streams of Friends today, as Dover Friends have found in our relationship with Cuban Quakers. It also gives us a basis for renewed dialogue on everything from worship and teaching to outreach and social justice issues. We quietist Friends have as much to learn from Evangelical Friends as they do from us – even as we explore our branching out from the same powerful roots.

I’ll leave this for now, saying only that in digging for Quaker roots, it’s possible to find yourself jolted, like grabbing onto a live wire. And who knows where that will lead.

*   *   *

Now, for an update. For ease of convenience, let me point you to overviews of these earlier Friends, all at my As Light Is Sown blog:

WHEN LEADERSHIP GOES WRONG

Leadership is a fascinating subject, not just the source of many intriguing biographies but also corporate case studies and political histories and military campaigns and religious movements and … well, feel free to add to the list. We’ve all been in places where we’ve worked with admirable leaders, as well as places where we’ve suffered – perhaps even leaving in despair.

Outstanding leadership is, of course, a rare and wonderful occurrence. Mediocre is, by definition, the norm. And then there’s the kind that worms itself into position and sets about doing destruction.

Lately, I’ve been reflecting (again) on the last one. Not just inept, but destructive. I can work around one, but the other one makes for an impossible situation. Think Moby Dick.

It doesn’t always start off as badly as I’ve portrayed. Sometimes the individual begins gangbusters, doing everything right, before something goes seriously wrong. The person may simply burn out or lose interest. Conditions may change, so that the fit no longer works to the organization’s advantage. (Corporate organizational consultants have elaborate charts of the qualities needed for a startup versus a maturing company, or one shifting from private ownership to a public stock offering or the reverse.) Sometimes the person is fine for when everything’s going smoothly but has no ability to adjust for necessary – and often painful – restructuring, especially when layoffs and shutdowns are involved. Or there may be a buried demon that is let loose somewhere along the way, perhaps triggered by a divorce or death or temptations such as greed or power-hunger or sheer arrogance or flawed leadership techniques such as bullying and abuse or deep-seated insecurity or an untamed ego or, well, again the list goes on. Feel free to add or amplify. This, too, is a source for many great works of literature, operas, plays, and movies. The dark side comes forth.

My big question is whether an organization reacts in time to save itself, and what steps can be taken before it’s too late.

One of the first signs of trouble is the departure of key personnel, often lower-level individuals on the front line – or at least a failure to hear their complaints without retaliation. Sometimes it’s flight at some of the highest levels. After all, their jobs are at stake.

Usually, however, the awareness comes later.

The New York City Opera, for instance, appointed a new CEO whose brief tenure was disastrous. His flamboyant, extravagant vision for the company sent it straight for the cliffs, and the trustees’ decision to terminate his reign ultimately came too late to prevent the train wreck. This was a company, we should note, founded by visionary leadership that continued through several administrations. RIP.

I’m thinking, too, of situations where one of the top leaders engages in clandestine conflict – often backstage, one-on-one building alliances – that’s ego-based to the detriment of the organization. Commonly, the player lacks an appreciation for the culture and values of the organization and seek to turn it toward his or her own goals, including self-power enhancement, regardless of the trustees’ projections. Removing such a toxic manager, however necessary, produces ill feelings and misunderstanding all around, especially when the others are prevented by legal constraints from speaking openly of their underlying reasons.

Sometimes I think it’s a miracle organizations get anything done, top to bottom or, more accurately, bottom to top. There’s far more to leadership than barking orders, for sure, or undue frugality. I’d put mutual understanding high on my list of leadership qualities.

How about others?

~*~

I looked at something similar – good bosses and bad – back on June 28, 2013. To take a look, just click here.

LITERATURE ACCOMPANYING THE HIPPIE EXPERIENCE

A shelf of books was often part of the hippie scene, and I suppose many of the novelists and poets were technically beatniks, but they shaped our journey as well. I think, especially, of Richard Brautigan, Jack Kerouac, Allen Ginsberg, Gary Snyder, Richard Farina, and Gurney Norman, as well as the German Herman Hesse of an earlier era, and Tom Wolfe’s Electric Kool-Aid Test Acid Test. There were also many non-fiction works of influence, including the Whole Earth Catalog, and the Lama Foundation’s Be Here Now.

Which authors and volumes would you add to the shelf if you were trying to give a fuller picture of the experience?

I suspect there are some fine reads that need to be recovered, and blatant self-promotion is also welcome.

This book swap’s open!

MOVING TOWARD A NEW PERIOD

This miracle of being allowed to release so much pent-up work is impossible to describe, but it is fostering an incredible change within me. The publication of my novels as ebooks through Smashwords.com and the postings on this blog of so many bits from my archives are allowing me to enter a period of reduction – something I’m calling “decollecting,” when it comes to my books, recordings, manuscripts, extra clothing, and other assemblies. What I’m also finding is an opening to rethink almost everything and, like the layers of an onion being stripped away, of finding myself willing to rely on fewer and fewer answers … and more and more questions. Add to that a growing sense of wonder, in many cases, or of futility and cynicism, when looking at so many of the political and economic policies being followed blindly.

What I am accepting is that I require less and less material support. Maybe it’s the renunciation in my yogic past finally kicking in, or maybe it’s the tightened focus on what remains before me.

One thing I know as I view the trail markers before me: I’m not ready to kick back, for certain. Let’s see where this goes.

REGARDING ELK AND MORE

Monday morning, as I noted at the time:  

I’d thrown the kids off the PC, where they were watching an episode of The Simpsons, only to find out it was actually an assignment for the older one’s upper-level college course, the Sociology of Humor. [No joking.] And then I got around to some poetry submissions, including an acceptance or two.

Glad you like the work I sent. The elk poems arise out of the four years I spent in the desert of Washington state, bordering the “dry side” of the Cascade Range. They’re part of a series, most of which has already appeared in journals. I’m not a hunter, but living as I have most of my adult life in places near forest (even my time in Indiana and Iowa), I’ve had to acknowledge the existence of hunting as a fact of life – and the ways ancient hunting, with its religious/spiritual dimensions (the discipline of meditation, for instance, arises from waiting for the game), contrasts with modern “harvesting.” Even so, some editors have rejected the work out of hand – maybe they thought I’m a NRA member (quite the opposite, in reality – no guns for me).

Among the poems I’ve written are “After the Fact,” which comes out of Native American lore. It turns out that Gary Snyder also has a piece drawing on the same myth – “This Poem Is for Bear” – which acknowledges the aspect of the girl’s disrespecting the bruin before the abduction. I found another piece along this line of my work, “If a Man Goes Mad,” which works along a similar grain.

Finally, as I look back on the period, I reopen a longpoem, my American Olympus, based on a one-week camping trip with a now ex-wife and a former girlfriend who was visiting (who would have guessed they’d actually enjoy each other’s company). As it turns out, I still hear from the ex-girlfriend.