You never know what we'll churn up in cleaning a stall
I’m not writing poems lately
but I’m not praying much, either
Let me elaborate:
Consider the act of writing as prayer. Neither is done for outward compensation, much less any guarantee of results, but rather to open one’s heart and mind to what is eternal and true – and attune oneself to that, regardless.
That image seems especially appropriate as we celebrate the appearance today of my newest collection of poems, Ocean Motion, now available in the ebook platform of your choice. Yes, let’s envision a book floating on the water like a boat.
For much of the first half of my life, the concept of an ocean was incomprehensible, even more so than mountains.
As I’ve noted earlier, I grew up far from the seashore or even craggy ranges like the Rockies or Alps. The Great Smokey and other Southern Appalachian glories were a bit closer. I didn’t encounter the ocean until I’d reached adolescence and we visited Florida on a camping trip with some of Dad’s old Army Air Force buddies. I next saw surf my senior year of college, with my then-girlfriend and her parents. From there, my encounters went to a few times on the Staten Island ferry or other points in New York City or Long Island, and then the ferry rides in Washington state, a few days camping along the Pacific (recorded in my American Olympus book), a jaunt along the Oregon coast, and then Maryland, New Jersey, and ultimately New England, plus a few returns to the Gulf Coast of Florida.
In all of those, I faced an enigma, a recognition that I didn’t quite grasp its appeal. Something was missing. It was like a gray Lake Erie looming with whitecaps I had seen around age seven, except that there was something else called tides. It was water with nothing else but sky on the horizon.
The pace of my encounters picked up, especially once I moved to New England, nearly half of my life ago now. Having a boss who owned a 32-foot sailboat fostered some of that, especially when we ventured forth once or twice each summer from Newburyport, Massachusetts, or once from Portsmouth, New Hampshire – both notoriously treacherous harbors.
As I describe in one poem, my first time of being in a sailboat was also my first time out on the Atlantic and my first time of seeing whales (including a minke that surfaced only feet away from me) and my first time of setting foot on an island, one that was now a Unitarian and Congregationalist churches summer retreat.
Those experiences all infuse these poems.
Moving to Dover, as I remarried, picked up the pace. The tides reached downtown, after all, and Great Bay along one side. Plus, with the kids, we got to visit Maine beaches and Cape Cod at their grandfather’s. And later, picking up one after her work at a coastal motel, I had repeated exposures to the ocean at midnight, another world altogether. I wouldn’t say it was romantic, even with a full moon.
The resulting poems eventually appeared in small-press literary venues around the globe as well as a series of PDF chapbooks at Thistle Finch editions.
As these poems demonstrate, the more I’ve gotten to know ocean as the North Atlantic along New England, the more in awe I am. Other writers can express the ocean from their own locale and nuances.
Still, I have come to love lighthouses and do treasure opportunities to climb up within them to savor the view from the top. But don’t get too romantic, it was a harsh, often dangerous, life for the keeper and his family. I hope these poems reflect that reality and more.
Do note that New England thrived on seafaring, designing and building distinguished vessels along its forested shores and sailing them around the globe to Asia and elsewhere and then back or out to hunt whales. The memories are imprinted in the muscle and soul of its people.
Remember, tides rise and fall dramatically in New England. You learn to be alert, even wary. And, do note, I’ve learned so much more since I first expressed that.
One of the ocean chapbooks included in the final collection was titled “Land Overlaps Sea,” an outlook that still impresses me, considering that it’s actually the other way around. The poems in the collection reflect places close to where I lived at the time and ways they interact with the Atlantic. It has been quite instructive over the years, even for an old landlubber like me.
Meanwhile, bits of sea shanties – the chanted or sung work ditties of sailors over the years – muffled and muted by the wind, flit through background, even if you don’t quite catch their words.
While the poems reflect a period of my life before moving to a remote fishing village at the far end of Maine, what I’ve encountered since confirms my impressions.
Maritime historian and sea chanter Stephen Sanfilippo and his wife, Susan, have definitely added much to my comprehension, as have my new friend, Captain Robert J. Peacock, and my times out on the waters, especially week-long cruises aboard the historic schooner Lewis R. French, as you’ve been seeing here.
~*~
So here we are, with my thought that each new volume is akin to the space within a vessel:
a book launch
rather than release
BOOK
BOAT
the connection floats for me
my experience on the water flows everywhere
For my poems of the sea, check out Ocean Motion at Smashwords.com. You can find also find it at the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. Or ask your public library to obtain it.
I was looking at one of our typically outrageous dawns or maybe it was a sunset and realized it was as amazing as an aroura borealis.
(Prompted by artist Jane Kaufmann.)
A poetry editor a decade or two ago asked why I write poems, and in response I came up with this:
I’ve been writing poetry and fiction for so long the questions of “how” and even “when” and “where” arise long before any consideration of “why.” That is, the practice quickly turns directly to “just sit down, start keyboarding, and see where it goes.” Even so, my “why” quickly turns to a succession of motivations within an evolving exploration that continued to present itself as poetry. So here are some of my primary Whys along the way:
Well, that’s what I wrote at the time, and the editor fired back with a round of questions I didn’t have time to answer. Way back then. I have no idea how I would answer now. I do hope it would be less ethereal.
I have several pairs of identical thick wool socks – all gifted, by the way – that I’ve worn the majority of the time since moving Way Downeast, summer or winter. You can say I’m quite fond of them and their cushiony effect. But then, the other day, one pair finally wore out – under the heel in one and a toe in the other.
Emotionally? Oh well, it’s about time. Or, I definitely got my mileage out of them. Or, in response, I could elaborate on my belief in having multiple pairs of identical socks so that if one gives out, you’ll ultimately have a new match when one in another set gives way.
Instead, I was left facing a situation where that didn’t exactly fit my model. Or, what is that people say about if the shoe fits?
After a couple dozen or so years that have been focused largely in the revision of fiction and then the roots of Dover Quaker Friends Meeting, itself a challenge to conventional New England history, I’ve found myself revisiting my trove of poetry.
It’s part of a big cleanup project that’s accompanying our downsizing move from New Hampshire to the far end of Maine, and I’m at a point of trying to discard everything I no longer need and put in order anything else I feel is of value.
As a result, several central full-length collections that had been presented piecemeal as chapbooks at my Thistle Finch editions blog are now released as ebooks at Smashwords.com and its affiliated digital bookstores. You’ll be hearing more about those as the year progresses.
In their place in the Thistle Finch lineup are new chapbooks of sets of my more recent poems, meaning ones from this century, though their origins go back further.
The task has come as a revelation, watching the evolution in my style and underlying voice. Each stage, reflecting geographical moves in my life and the upheavals of my closest relationships, edged me away from narrative-driven content to increasingly image and confetti centered clusters. Don’t ask me to explain them, they just are, whatever.
For me, poetry is a kind of mysticism – one foot in the inexplicable wondrous, the other in everyday life. Prose, of course, is more secular.
My newly released chapbook Aquarian Leap leads off the new run at Thistle Finch. Frankly, looking back over these, I’m not sure what to make of them other than the wild energy they inhabit. I certainly wouldn’t – or couldn’t – draft them today.
These poems, in some manner, still reflect the working of my multi-layered, mercurial thought process. (Never mind my heart, all the more elusive and often contradictory!) I love those lucid moments – sharp, brief – when everything, including thought and emotion, is centered, full, and stilled. Rarely, however, does my intellect flow in such a focused narrative. That requires more effort.
More typically, it flashes on something and then leaps to another, seemingly miles away. Some say this is characteristic of my natal sun sign. That is to say, the typical Aquarian will hear one subject and shuffle through fifty-two logical connections in a flash, and then blurt out something that will leave everyone else in the room wondering, “Just where did that come from?” (Except, perhaps, for another Aquarian, to whom it will seem perfectly logical.)
Often, my writing was constructed and amplified and then distilled from notes, many of them scratched out on a daily commute or on a hike in the woods, or sometimes even a twist while journaling. Curiously, when I assembled these into collage-poems, I was conscious of an underlying logic. That is, many snippets did not fit the emerging sense and must be laid aside. But a few others did, leading to what I hope is an internal thesis/antithesis/synthesis that’s ultimately beyond any surface or attempted cleverness. I prefer for my work to discover and uncover rather than invent.
The result in this set and a few ahead feels more like confetti. So there!
Something similar happens in disciplined meditation, such as traditional Quaker worship, where routine thoughts are patiently laid aside while one’s awareness clears and sinks to a more intuitive and integrated state. Perhaps some of that also infects these pieces.
I should confess to a few works by two poets, G.P. Scratz and Aram Saroyan, I’ve long admired, poems that defy explication or understanding yet spring from the intuitive burst that takes us beyond apparent meaning – and closer to a jewel-like condition.
Or even the freedom of dancing, which I find in a similar vein in the work of Philip Whalen, especially.
Consider the linguist’s Wolves and Consonants. (My reading of “Vowels” in a book title my elder daughter was reading.)
The growling of wolves adds a whole new way of following the Voice here.
As for any effort to define poetry itself? I guess I prefer the wilder side. Go figure.
You can find Aquarian Leap at Thistle Finch editions.
One of the joys of blogging has been the way it’s opened connections I wouldn’t have otherwise found.
An example of that came after an email exchange with Paul Glover, who had come across my references to Hub Meeker, who had been the fine arts columnist at my hometown newspaper, the morning one that later gave me an internship as my first professional stint.
Hub had a position that was long my dream job, but a rarity in American journalism. Fine arts coverage is marginal, at best, and these days often limited to press releases rather than performance reviews. Even the Washington Post is a near zero on that front.
And there I was in the same newsroom, sometimes even going to lunch or dinner with him.
You can imagine.
Shortly before my graduation from college, Hub moved on from Dayton and eventually from sight altogether. And his position went to another, more established figure, rather than me, despite my own little fan club in the room. At this point, I’m thinking it would have turned out disastrously.
(I need some time for that thought to sink in.)
~*~
Turns out Paul knew Hub from a different perspective, a stepson of sorts, though falling in that range of family relationships that currently lack an exact word that fits.
He related that Hub had recently died and was wondering if I had any memories
or stories of interest that I could send his way in British Columbia.
So here’s my quick stab.
~*~
Naturally, you’ve stirred up so much more.
For starters, I’m not sure what high school he attended or even college. Ohio University? As for a major? Or even how he got hired at the Journal Herald, though Glenn Thompson had an eye for the unusual. Glenn hired me because of a letter to the editor I had submitted and then talked me into changing my major at Indiana University, from journalism to political science.
I graduated from Belmont in ’66 and gather that you’re a decade or so younger. Do fill me in.
The art institute, as you probably know, was undergoing a major shift at the time, from a collection that had included samurai armor and an Egyptian mummy in its displays to instead focus on picking up first-class works in a particular style or period rather than second-rate works by big names. Hub was happy to proclaim the purchase of pre-Columbian pieces at a time when nobody else was aware of their glories.
The DAI was also on the cutting edge of the arts scene, including its degree-producing art school, which several of my friends attended. Or, as my high school art teacher once said during a visit to her home when I was home from college with my girlfriend (from the other side of town), it was the kind of place that displayed the constructions of my girlfriend’s mother and her close friend slash mentor. Don’t know if she called it rubbish, but she certainly didn’t see it as “painting.”
By the time of Kent State, Dayton was already in a downward economic cycle — National Cash Register had laid off almost all of its workforce and was demolishing its factories, and General Motors’ five divisions were all getting hammered, too. The dysfunctional school board’s refusal to work on racial imbalances led to court decisions that, well, pretty much destroyed public education in town.
You were lucky to escape.
You touch on your parents’ marital difficulties. From meeting Hub’s wife a few times, I got the feeling that their relationship was rocky. Yes, she was British and daffy and likely neurotic — a smoker? — all with their charms, and, yes, quite pretty (brunette?) to my 20-year-old eyes. I later wondered how much of that factored in the decision to move to Rhode Island. Looking back, I do believe she really was hitting on me late one afternoon, though I rather brushed it off at the time. (Gee, I was still virgin. Hard to admit that, even now.) (Ditto, for another encounter, at school a few months earlier.)
I’m also wondered how Hub managed financially after leaving Dayton. Writing is rarely lucrative, even for some major authors, as I’ve learned from one friend who envied my steady income while I envied his New York Times critical acclaim. Well, Paul, you know the arts scene. Did you continue in that vein or find another path?
Being together 50 years, though, is quite an achievement. I always saw Hub as a gentle soul. I hope he was that in your relationship, too. Stepping in as the new male authority figure is rarely smooth, as I found in my own remarriage.
I am impressed by your efforts on the memorial service and hope it brings comfort to your mother, you, and the rest of those closest to you.
Oh, yes, and thank you for visiting the Red Barn. I was surprised to see I had mentioned Hub five times over the past dozen years.
~*~
This must have been in a follow-up dispatch:
Hub had what for me was a dream job on a newspaper. His wasn’t just a column – ideal enough – but one covering the fine arts, all of them – visual, literary, and performing – just as they were becoming important in my own adolescent life.
At the time, Dayton was a thriving industrial hub that also had a heavy Air Force presence. It wasn’t someplace you thought of as having an artsy side, even as the ‘60s took shape.
Glenn Thompson, editor-in-chief of the morning newspaper, one of a moderate Republican stance, believed in raising readers’ visions a bit higher. Somehow, in recognizing Hub’s potential, he created the State of the Arts beat.
For Hub, this was an opportunity to discover creative work in many veins, and in doing so, he nurtured a growing scene. Vanguard Concerts surfaced to bring top-notch chamber music to town; an opera company was formed, presenting some up-and-coming stars along the way; his coverage of new architecture was cited by, I believe, it was Time magazine. The local art museum was hailed by the New York Times as, “Dayton, Dayton, rah-rah-rah,” no doubt influenced by Hub’s columns.
He did get to cover the arts elsewhere, too. Some of his columns reveled in the richness of London, which had all of five symphony orchestras.
Turning to Cincinnati, with its zoo, he opened a report with “Hip, hop, hippopotamus, it’s the zoo. Where …” and then took us behind the scenes with a world we’d otherwise never see. The story was accompanied by a page-wide photo of a giraffe’s neck stretched out to an ice cream cone.
Every fall he and the outdoors writer headed off to the hilly part of Ohio to review the fall foliage. Their columns then ran side-by-side. Fun stuff, seeing the same event from different perspectives.
And then, in my sophomore year of college, I got to intern at the Journal Herald and actually meet the guy, go out to lunch – I remember the open-face cheeseburgers from one of those at an old-fashioned downtown dive, even share a staff party or two.
He admitted feeling he was on thin ice, trying to cover so much. I think the spirit of wonder and curiosity he conveyed made up for any lack of formal expertise. He did come from humble roots on the wrong side of the river, as I recall – well, my part of town wasn’t exactly classy, either. And then there were rumors of a used hearse Hub and his wife drove, perhaps somewhat scandalously.
And then, shortly after I transferred to Indiana University, the paper announced that Hub was off to Rhode Island.
It hit me as a shock. He had been a crucial influence shaping my own artistic tastes and outlook.
~*~
What I learned in return was that Hub had left journalism but done some writing along the way. Spent his later years in Canada and serving in community service of various strands. In the photo that was enclosed, both he and his longtime sweetheart look very happy.
For me, this stage of winding down, or at least refocusing, includes recognizing realities of aging and finances while living in a remote area of the country. Here are some things I’d say are in my past, no matter how actively I pursued them:
My second brace of fiction, ultimately three books in all, addressed the dozen years in the aftermath of the hippie outbreak, though I’ve tried to fudge the era precisely. I do think much of it is continuing.
Naturally, for me, they were semi-autobiographical, even though the protagonist is now a woman named Jaya who winds up with a much younger lover who becomes her husband.
The pivotal piece is Yoga Bootcamp, with her now as a central character, along with the guru they sometimes called Elvis or Big Pumpkin. My residency in the ashram was a transformative period in my life, even in the face of details I’ve since learned. We were a rogue outfit in the period when yoga took root in America. This down-to-earth story will probably scandalize your local yoga studio instructor, but the experience did reshape many of our lives, hopefully for the better. I’ve certainly carried many of its lessons far through some other faith traditions.
The central piece is now compressed into Nearly Canaan, originally an ambitious triptych that comprised the hefty novels Promise, Peel: As in Apple, and With St. Helens in the Mix. At the outset, a sense of place was central as Jaya relocated from a small town on the prairie in the American Midwest to the hardscrabble Ozarks to the apple orchard country in the desert of the Pacific Northwest, but the central theme now condenses as the question of how much influence one person can extend over others, hopefully for the better. I can ask now whether it would have been more compelling if she’d been conniving and manipulative.
The third book, The Secret Side of Jaya, is a set of three novellas, each one set in the places she lived after leaving the ashram. Each one, quite different, is premised on hearing and seeing figures in a locale that others don’t. Maybe you encounter them, too, where you are.
You can find these books 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.
Jnana's Red Barn 