Tag: Literature

GETTING FREE OF GUILT EDGES

~ Jnana Hodson ~ 1 Comment

A renewed compulsion had me rethinking, reworking, pruning, and punching up much of my earlier writing – the dozen unpublished novels; the genealogy research and narrative; several hundred poems, many of which had been published in literary quarterlies; and varied essays and journal entries. It hit with a vengeance, and was given extra clout at New England Yearly Meeting one August when, in a prayer circle, it was made clear to me that these labors are an exercise of talent, a gift, rather than a self-indulgence that had too often before stirred feelings of guilt.

For the first time in my life, I felt free to undertake this labor, the writing that does not pay the bills but somehow keeps me intellectually and artistically alive. What a blessing! (Never underestimate the power of prayer!)

Again, cleaning up these works and seeing them published may be one more way of bringing some closure to what too often seems a honeycombed life! Writing pulls so many of these threads together.

I began trying to set aside one free day each week as a no-automobile day, a kind of sabbath for writing, reading, or reflection; even with my usual three days off at the time (Sunday News worked a double shift every Saturday), achieving this goal became surprisingly difficult – but wonderfully rewarding when it did.

In some rich ways, it became a kind of retirement, even while being employed elsewhere full-time.

PAINFUL NEUTRALITY

~ Jnana Hodson ~ 5 Comments

At the least, the pursuit of objectivity has meant that news reporters and editors cannot engage in political activities. Even community-wide charity drives become suspect. I learned early on I couldn’t wear political buttons or put a bumper sticker on the car, much less participate in a protest line. The ethics policy at the Kansas City Star was famed for telling its personnel that the only organization where they could vote was their church. (And, presumably, public elections, although some journalists have argued even that would taint their professionalism.) To be honest, even though we Quakers never take a vote in our business sessions, I felt some relief to know that my church was taking public stands in my stead.

It’s not that we don’t have values or don’t believe that reforms are needed. Rather, it’s an awareness that to report all sides fairly, we need to have some distance from participating in the battle itself. We have to be able to report shortcomings even in the places where we feel most sympathetic.

Still, I’d like those who accuse journalists of bias to try living under such strictures themselves. Maybe they’d even see a bigger picture.

PUBLISHING DECISION

~ Jnana Hodson ~ 1 Comment

He admitted it was an academic book that deserved to be published, but their research indicated they’d be lucky to sell 400 copies. Without a hefty subsidy, there was no way his university press could afford to move forward on the project.

Welcome to the club.

THE DYING ART OF CARTOONING

~ Jnana Hodson ~ Leave a comment

Flipping through the latest New Yorker and admiring the cartoons brought a sense of loss, too. While the New Yorker and Playboy had long been the epitome of the art, paying the premium rates for work that matched the highest standards, almost every magazine ran cartoons, at least as fillers in the back sections. These days, though, hardly any of them do.

When I was in high school, the wit of fellow Buckeye James Thurber became a model, along with the Addams Family even before the TV series. And then there was Gahan Wilson’s mordant pen. But who’s come along, say, in the past decade to fill the ranks? Not in magazines, as far as I see.

Or in newspapers, where having an editorial page cartoonist was seen as a badge of distinction. (Except at the New York Times, of course, which abstained.) In the collapse of the second newspaper in most markets – and the elimination of afternoon editions – the ranks of those cartoonists have also been evaporating. Even before we get to the recent rounds of attrition.

It’s not a laughing matter.

OBJECTIVITY, FOR STARTERS

~ Jnana Hodson ~ 1 Comment

Journalism students used to be told of a reporter writing a weather story in a newsroom. Even though he can look out the window to see that it’s raining, he turns to the guy at the next desk, asks him to look out the window, and then quotes him in the report. It’s probably apocryphal, but it does reflect the kind of training no-nonsense reporters had in turning to sources, rather than their personal observations.

That’s why you see so many direct quotations in a news dispatch.

What you learn along the way is that what you see may not be the full story, much less the real account.

For all I know, it could have been glass falling from an explosion or sawdust, as they do in theater productions.

At least this way, there’s someone to blame if it’s wrong.

SINGING WHERE WE LIVE

~ Jnana Hodson ~ 1 Comment

Like all of the arts, poetry has a long tradition of speaking for the marginalized and disenfranchised. Just look at a lot of the Psalms (even those attributed to David the King!) or Isaiah, for starters. That, as well as the court poets throughout antiquity. Or Wallace Stevens, the insurance executive. We sing where we live.

As for the review, remember: being a writer requires a thick skin when it comes to criticism – and, as Gertie Stein said, every writer wants to be told how good he is, how good he is, how good he is. Now, let’s look at the depth of this “criticism”: adjectives like dumbest, dumb, dumb … how many times? To say “I didn’t like this” is not criticism, O Wondrous Publisher, but the lowest form of consumerism.

Much of the most powerful art we find unlikable in our initial encounters – only through repeated exposure and exploration do we finally begin to see it open in its fullness and awe, and to appreciate its scope. (Not that everything that’s unlikable is great art, or even art, mind you – just that candy in and of itself can leave one seriously malnourished.) So don’t invite this cad to the opera, Shakespeare or Shaw, the symphony, art museum, jazz, a wine-tasting or brewpub, wilderness camping/backpacking, or your next edition. I once counseled a photographer I know in the Pacific Northwest to go beyond the obvious, superficial beauty there and to instead capture the real nature of the landscape.

Last time we talked, he said his work had taken on a breathtaking intensity, but that none of the galleries would touch it – because they didn’t believe it was real! It isn’t what the owners and collectors think they see in the outdoors – it’s the reality, in its naked majesty, instead. That’s what art is about! Or should be.

Or, as Gary Snyder once argued, all poetry is nature poetry – even if the closest the poet comes to nature is his old lady’s queynt.

Another thing to remember when it comes to publishing: not everyone will like everything. Back when Doonesbury was the “hot” comic strip, one newspaper was astonished to find in a survey that the strip was both its most popular – and the most hated! Please the latter subscribers and you might not be selling copies to the former; but please the former, and the latter will still be onboard, to get whatever it is that they like. Or. if a restaurant removed every item that any of its clientele found objectionable, there would be no menu. Even McDonald’s has detractors.

Of course you’re going to tinker with each edition! Every poem is different, too – or should be. (I could name some writers who are repeating the same formula they struck upon ten or twenty years ago, but that’s not for me – Eskimo artists, I’ve heard, will do a subject only once and then move on to another. Good model, methinks, although the “once” might mean a work within a series of sixty to a hundred poems – kind of like a novel, I guess.)

Maybe you’ll even have a stretch where the personal life and upheaval and discovery and adventures quiet down, and you feel it’s time to do a mostly-poetry issue – go for that, too!

Right now, what’s singing where I live is the mockingbird. Ever so gloriously, with a song that’s rarely the same.

SHIFT IN SUBMISSIONS STRATEGY

~ Jnana Hodson ~ 2 Comments

For decades – perhaps generations – writers would send their works off to magazines as exclusive submissions. Only one journal at a time would get to look at a piece, usually taking six months to reject it. And with rejection rates running 95 percent and higher, a writer could spend a lifetime trying to see a piece published.

More recently, many editors have turned to allowing simultaneous submissions, something I’ve avoided simply because of the difficulties of keeping track of what I have out where. But I don’t call mine exclusive submissions; if I don’t hear back in six months, I assume the work was lost, the periodical’s gone kaput, or the piece has been rejected – and then I put it back into circulation.

The Postal Service submissions also meant including an SASE – self-addressed, stamped envelope – for return of the work and the typical rejection slip or scrawl or, happy day, the rare acceptance note.

When I returned to submitting after a five- or six-year hiatus, much of the field had changed. Many of the journals now took submissions only electronically, especially through one of several formatted services. For a while I tried to maintain two separate sets of files, one for submissions I was sending off in envelopes and another for the online offerings.

And then, one day, I looked at the odds. All of my acceptances were coming from the online submissions. More impressively, some came within six hours rather than six months.

A few editors still limit themselves to entries on paper. But they’re not seeing my work. At the moment, I don’t even have easy access to a printer. (But that’s another story.)

THE HUMAN IMPRINT

~ Jnana Hodson ~ 3 Comments

In the old days, a newspaper or magazine often had a personal imprint. The publication took on the publisher’s or top editor’s vision, and a certain tone and range of interests followed. We can look at the legendary names – McCormack, Hearst, Pulitzer, Scotty Reston’s New York Times, Ben Bradlee’s Washington Post, the Bingham family’s Louisville Courier-Journal, Tom Winship’s Boston Globe, even Bill Loeb’s Union Leader – and then realize it’s not something you see in the corporate journalism of today, especially where top editors are out the door in a year. Can you name anyone at the helm today?

As for the big-name stars of network and cable news/entertainment, well, let’s just say they’re pale imposters. There’s something to be said for knowing the ropes of a community and its people. Of having roots and depth – and the responsibility of recognition when they’re out in public.

ONLINE ARCHIVES

~ Jnana Hodson ~ 2 Comments

It’s a rare book archive at your fingertips. The Earlham School of Religion’s Digital Quaker Collection, “a digital library containing full text and page images of over 500 individual Quaker works from the 17th and 18th centuries,” is an amazing site, allowing you free access to some very rare volumes, which you can view page by page in both their original typography and a much more readable contemporary typeface. While some of the works are Quaker classics that have been republished and are available in our meeting library, others are next to impossible to find.

Elizabeth Bathurst, for instance, is among the finest writers to delve into Quaker theology in the early years, yet remains essentially unknown except for the single, slim volume found here.

And then there’s the journal of Joseph Hoag, who had close connections to Dover and could claim to have visited every Quaker meeting in the United States. (He was hardly alone in that matter of visitation among Friends.) His recollections of riding across a field he imagined soaked in blood becomes especially chilling when you discover this was Gettysburg a half-century before the Civil War battle – a crossing accompanied by his vision of the nation rent asunder by the enormity of slavery.

The two volumes of Joseph Besse’s Sufferings (to use the much shortened title) records every Quaker known to have been persecuted in the first four decades of Friends. Not only is this a great genealogical resource, it also demonstrates where our meticulous practice of minuting our business originates. For perspective, consider that a fine of 10 pounds was also the price of three or four cows. But you don’t have to recalculate time spent imprisoned.

Rarities can also be found on other sites. The California Digital Library (archive.org), for example, has Fernando G. Cartland’s Southern Heroes or Friends in War Time, detailing the persecution of Quakers in North Carolina, especially, during the Civil War. Their witness needs to be better known.

Another treasure is a set of transcriptions of the surviving minutes of the first monthly meeting in Ireland, in Lurgan (Google “Lurgan Quaker Minutes” or go to cephafisher.net/LurganMinutes). Taken mostly from the “means” or men’s side of the business, these provide insights into the evolving sense of Friends community and reflect the importance of our tradition of minuting. How I love, too, those sessions marked “no business to report.”

To think, you can check ‘em out without having to travel anywhere!

FOLLOWING THE LINE

~ Jnana Hodson ~ 3 Comments

As I said at the time: Who am I writing to? Right now, me. A conversation with myself. Not that I want it to remain that way. In time, it may be you, the invisible reader wandering around my mind or heart. The kindred spirit. Or perhaps, as prayer, as confession to God. Who already knows the outcome. And who would cheat God? Yes, the ubiquitous “you” in contemporary American poetry may well be God as much as one’s lover.

In my experience, I really do need to get that first overview drafted, to see in part where my thoughts and heart are leading. At that point, I can begin to ask what else needs to be said about you or me, the family, faith, our part of the world (now I think of a friend who painted a much different picture of Maine than the coastal postcards most people imagine), and so on. (And don’t overlook the lessons from the convent, I tell her.)

“The new chapters in your letters have good energy,” I continued. “They move along well, keeping eyes open for details and heart for insight. A good direction!” Having just finished the ninth or tenth draft of one manuscript, retitled again, I acknowledged stages of writing and revision my own process entails. The first draft is essentially for myself: to see where the material leads. The next several revisions tend to round out the logic, support my leaps, provide background for the reader; in this stage, the work becomes wordy, by necessity and is written for others, rather than myself. Then comes the “sponge stage,” where the work begins to soak up more and more new material quotes, references, new insights; it must reach saturation point. Sometime around here, the work needs to be restructured or reblocked: the original outline or roadmap no longer leads the material through the best route. (A chronological approach, for instance, may be jettisoned at this stage.) Eventually, what I really need to say emerges, and that leads to some heavy copy editing, to make the light and dark contrasts stronger. This is when the thesaurus and the search/replace get heavy usage, too, punching up the diction, largely to expand repeated concepts and terms. In a long work, I always find a handful of overworked terms; maybe they reflect the central issues, but left untouched, they become tedious.