DRESSING FOR LOGISTICS

It didn’t take very long for my philosophy class in college to realize our professor was wearing the same outfit all the time – suit coat, tie, pants, and Hush Puppies. We wondered about the white shirt, his socks, and underwear, and presumed he was changing those. The second semester, he did the same thing, but with a different outfit. (This was the same teacher whose final the previous year had a single question, “Why?” – which led most students to write profusely in their blue books, hoping to somehow hit the answer by accident. A succinct “Why not?” turned out to be the B+ answer, while “Because” earned the A.) Maybe he was just too lost in thought to be concerned about attire. On the other hand, some in the class repeated rumors that he had a girlfriend in Sweden and was spending most of his income on long-distance bills. (Why not?)

When I’m grabbing the same set of clothes for, say, the third day in a row while getting ready to dash off to the office, that recollection flits through my mind. Sometimes the thought connects with the concept of Plain dress, too, and how we’ve made things more complicated by switching to the less tightly defined “simplicity.” For old Quakers, the question of “What will I wear today?” was much easier than it is for us.

Of course, Plain dress was also a uniform – a symbol of belonging, and belonging to a cause, at that. There are all kinds of uniforms, and not just for the military – mail carriers, retail clerks, priests, mechanics, utility workers, many of them today wearing embossed T-shirts. You know what to expect from them.

There are many reasons I’m not suggesting we return to Plain dress. For one thing, such a move would have to express a unified community; otherwise, we would just appear to be quirky along the lines of my philosophy prof. In addition, putting the focus on the outward appearance ignores what exists within. Still, such a move would be a public rejection of the fashion industry. And it was said that Friends who had taken up Plain dress became more aware of individuals at the fringes of society – and more responsive to their needs.

As for the philosophy prof, I guess the biggest lesson he taught me was the importance of questions in the logic of life. The dressing’s purely secondary.

OVERLAPPING OR UNCONNECTED CIRCLES

My daughters are quite fond of Venn diagrams as a way of analyzing situations, and lately it’s had me thinking about the Society of Friends, in an abstract sort of way. And from there, it’s had me thinking about a lot of other applications.

Let me explain.

To make a Venn diagram, you begin by drawing a circle to represent something. For example, if we’re looking at a group of people, we could draw a circle to represent families with children living at home. If a large proportion of the members fits this category, we’ll make a relatively large circle. Next we can draw another circle to represent households with children living elsewhere – say off at college or raising children of their own. There might be some overlap to show families who fit both categories, as well as no overlap for others. But a third circle of members who have no children at all would stand entirely apart. Adding another qualifier, such as “members living in Dover” or “households living under the poverty level,” would have us draw a circle that would spread over sections of the other three, and its size would reflect the amount of dual identity; often, we would shade that swath to help it stand out graphically. The emerging diagram begins to give us new perspectives on what had originally been defined by the single matter of membership, and we can begin to adjust our programs and mission to better match its needs.

*    *   *

Ideally, I’d say, Friends have assumed that the local Quaker meeting, as a community of faith, would emerge as a set of concentric rings, like the ripples radiating from a single pebble tossed in a still pond. At the heart of it would be our individual faith experience, surrounded by meeting for worship, meeting for the conduct of business, family, the body of Friends as Monthly, Quarterly, and Yearly Meeting, community, occupation, and larger society. In that, we would be in a state of essential unity or even Gospel Order.

In reality, of course, we’re much more like a handful of stones tossed out, and each of us creates a different set of ripples. They overlap for us, because we’re radiating on the same pond we call Dover Meeting, at least where I am. Conceptually, though, not all of our circles are radiating out across the water. Imagine instead that some are angled out into the air – our jobs or classrooms, for instance, or families where one spouse is active in Meeting and the other is not. This is certainly a much more complex model, leaving us many possibilities for being disconnected with the rest of the surface.

Looking at Meeting itself, and expecting the Meeting for Worship and/or the Meeting for Worship for the Conduct of Business to be our central focus, we might expect to see a host of other circles all converging on that point, to create something resembling a flower. Looking at attendance at Monthly Meeting, however, I would suggest some other model would be more accurate, and maybe some of the circles do not touch each other at all. Indeed, some people observing Friends Meetings have suggested there are circles with no overlap: Christocentric versus universalist, or social activists versus spiritual monastics – or whatever. What moves and motivates one Friend may leave another untouched. Still, where exclusivity is perceived, I would urge us to look closer, to find elements where overlap might actually exist and where the remainder of one circle might energize and support the remainder of another. I believe there we will find the key to a revitalized sense of urgency among Friends, and the ability to shake the earth for miles around.

*    *   *

The reality is that none of us identify ourselves by a single category. We apply many, and some are more important than others. For example, I’m a Quaker and also male, married, stepdad, retired from full-time employment, a published poet and novelist, a so-so baritone in a very fine chorus, a contradancer … well, it becomes a very long list and in my daily actions, some of my interests overlap with those of others I encounter.

My wife and I love those parties that mix three or four circles of very interesting people and then seeing the interaction that ensues. When it works, everyone seems to come away enlivened and enriched.

In a way, that’s part of what I’ve been trying to do with the Red Barn. Yes, I do try to rotate the entries among my 11 categories each month or so – American Affairs, Arts and Letters, Home and Garden, Newspaper Traditions, Personal Journey, Poems, Poetry Footnotes, Personal Journey, Postcards, Quaker Practice, and What’s New. But in reality, there’s a lot of overlap. The Home and Garden projects often stimulate the Poetry, while Newspaper Traditions often reflect American Affairs, yet Arts and Letters may emerge from my Personal Journey or Quaker Practice. And Postcards, meanwhile, reflects whatever shows up in the camera. Hopefully, each reader, initially attracted to one category, may soon be following the others.

See how our circles overlap? Or, for that matter, even enlarge.

GOING PUBLIC

Writers and artists who work alone may know the feeling. It might even fit composers, playwrights, and screenwriters. A piece looks quite different in manuscript or the studio than it does in a small-press journal or small gallery. It looks different, again, in galley proofs for correction or an exhibition. And it’s altogether different in full-length book publication or a major museum.

We could even consider all of the varied emotions that accompany these stages.

When the published novel’s in my hand, I’m not even sure I’d recognize its having any commonality with the manuscript or drafts all those steps earlier.

I suspect the experience for performers – especially those in groups – goes another direction. The rehearsals build a teamwork that’s carried forward to an audience. Could there even be occasions when the finished result is less satisfactory than some points beforehand?

We talk about a creative process, but I’m left acknowledging there are many.

STROKE OF GENIUS

“Do we have any cream rinse?” I asked, heading for the shower.

“The WHAT?” replied the chorus.

“You know, the stuff you put in your hair after you’ve used the shampoo.”

“Oh! You mean the CONDITIONER! They haven’t called it cream rinse for decades.”

Yeah, that stuff. There I go again, showing my age. Only to be corrected by my wife and kids.

Actually, I have to admire someone’s marketing savvy, however far back. Cream rinse, introduced to me by my first lover, always sounded like an indulgence – a luxury, superfluous but comforting. (She did have silky hair.) But conditioner? Now that sounds like something you might need to counter the, uh, harshness of shampoo. Not a luxury, but a necessity, making it all the better for marketing and sales.

Just goes to show the power of one word, doesn’t it.

MORE ANCIENT HISTORY

As I said at the time, there I was, actually, admitting that about now, whenever that was, it would be nice to find a big chunk of time to work on some new poems. Hadn’t done diddly since my week in the Maine woods, back in October, years ago. Had a big project lined up, the first draft already keyboarded – but other projects intruded, including a book-length prose manuscript I tried launching with a holistic Certified Public Accountant. Most of that volume was already written, but getting her input sometimes felt like pulling teeth. Figured that one would occupy my “writing” space through May. And then it went nowhere.

Was also trying to master the new computer means that my reading time was spent mostly with those fat manuals – good thing they’re indexed! Wished I could get those damn AOL logos off the bottom of my screen, too. I shifted over to Mindspring – for now, at least. And one more thing to master, in time, this e-mail process! (Well, I was already doing my checks from the terminal, and had a lot of the genealogy input. Transferring old 5.25-inch floppies in WordPerfect 4.1 was now possible, thanks to a drive a friend installed a month ago, but very time-consuming – a lot of garbage had to be removed with S&R, a big job when you’re handling drafts of novels! I expected to be nibbling away at that well into the autumn.)

As I was telling a certain woman in the midst of all this:

OK, you do have me reading the celebratory Poppy Z., at least in snippets as I find time. A month or so ago, I turned to one of the Goths in our poetry circle and mentioned there was an author a ‘zine editor-friend of mine out in Chicago raves  about, and somehow one piped up, “Oh! Poppy Z. Brite!”- so there you have it! (My friend, by the way, is in N’Orleans for Fat Tuesday and some recovery time thereafter – but I sense it’s part of a much bigger story I shan’t touch on just now, except that it looks like all the nasty fallout.) What impresses me most with PZB right now is how masterfully she handles dialogue – especially with seemingly inarticulate people. How evocative it is! (Envy time.) Since you have been smitten by N’Orleans (as, somehow, has a colleague at the office – again, another story), I must recommend an astounding novel by John Gregory Brown, Decorations in a Ruined Cemetery, which kept me up most of one frigid night in that cabin in Maine – as logs roared and sizzled in the fireplace – a box of Kleenex by the finale is advised, too – a real vortex of history, place, and those realms of caring for others that sometimes can never be spoken directly. By the way, did you catch the Streetcar Named Desire opera telecast on Public Television? Andre Previn’s music somehow intensifies an already sizzling text, and the casting would do Hollywood great. Less than a week after it was aired, I found myself spending an afternoon with a Cajun welder and his wife, whom my companion for the day had told me was involved with another man. Talk about things that cannot be spoken directly!

At any rate, much of your prose delves into matters that are generally not spoken directly – especially by a woman and by one who is still at an age when they are fresh! Matters of sexuality immediately stir up conflicts – lust versus love, power balances and reversals within relationship, passions/desires/dreams, promises and betrayals, egos, appetites, aging, vulnerabilities, layers of intimacy or distancing, pleasure/pain dimensions, possessiveness/freedom, giving/taking, nurturing/devouring. And that’s before we even touch on money, time, labor, wealth matters – the stuff that triggers most divorces – or questions of child-rearing or larger family interactions.

My, how much we had stirred up at the time! And how much lingers …

THE MANY MEANINGS OF MEETING

Quakers use the word meeting in many ways. Originating in the mid-1600s in England, Friends understood that church meant the body of believers – not the building, not the denomination, not the structure of hierarchy. Thus, you didn’t go to church – you gathered with the church. And so, the church (that is, people) met. The gathering of the faithful, and their time of worship, quickly became known as a meeting. Within it, we meet with each other and with God – early Friends proclaimed Christ had come to teach his people himself, and they sat in what became known as expectant waiting for his presence. Modern Friends may prefer other terms to describe the experience, even while retaining an awareness of Spirit-led worship. (I might add that in today’s frenetic world, an individual also meets with himself or herself, especially at the beginning of the hour, personally collecting scattered experiences of the week and renewing one’s sense of inner direction.) When we have a building set apart for worship, it is called, logically, a meetinghouse – here, we meet. In addition to the meanings of meeting as the people and as the worship service, Quakers also began to apply  the term to congregations and organization; this is based, curiously, on the frequency of each group’s gathering for the conduct of its business and discipline, or what we now usually call faith and practice. The local congregation is typically known as a monthly meeting. Neighboring monthly meetings participate in a quarterly meeting, four times a year. And the quarterly meetings come together as a regional yearly meeting, which has sessions once a year. (There are some variations within this, but in terms of decision-making authority, the monthly/quarterly/yearly connection holds). Thus, my congregation, Dover Monthly Meeting, is part of Dover Quarterly Meeting and New England Yearly Meeting.

All of this originated in response to the open worship and the desire to strengthen and deepen it. Early Friends soon perceived themselves as a people of faith, rather than as motley individuals, and that vision has left a treasured legacy of social change that is taken for granted by most people today. Again, I’ll leave that discussion to a number of excellent Quaker history volumes.

Even so, as we begin to participate within our spiritual community, we realize that when we’re faithful, the whole is greater than the sum of its parts. Here in Dover, I’m constantly surprised to find how far our activities extend, within the meeting itself (in all of its meanings) and throughout the surrounding towns and various networks of concern. Surprised, too, at the range of talent and skill in our midst. In the history of Friends, we have somehow come to rely on committees to meet our common organizational needs. I’m not sure when this emerged, and believe that early on, many of the tasks were performed within extended families, but today’s Quaker meetings depend on Friends’ service on various committees – everything from Ministry and Worship or Pastoral Care to Finance or Trustees to Religious Education or Building and Grounds to Hospitality or Peace and Justice Concerns. In practice, what I’ve observed is that these never all function smoothly at the same time. Even so, they extend our understanding of waiting from one of expectation to one of service, a meaning we see in language through terms such as waiter or waitress or lady in waiting. As I’ve said, in practice, sustaining a weekly hour of silence is not easy, individually or as a group. Nonetheless, I still find it’s essential, both ways.

BIRDS AS BYSTANDERS

A ring of blue jays is sounding an alarm somewhere close by. Who knows what it is this time.

So I stop typing, get up to look out the window, just in case they’re in view. What I see instead is a grandstand of smaller birds – sparrows, juncos, chickadees – all sitting contentedly on branches and facing the action.

Here we have it: the idle curiosity of us all.

SPLITTING THE RENT

Yes, splitting the rent, as I remember it, way back when leaving home and living not with a spouse or a lover, but instead sharing a dorm room or an apartment as a matter of economic necessity. You would wish otherwise, of course, for a space all your own, with privacy. In all of this transition, all the same, the unanticipated connections. As if you would ever go back.

PUBLISHING DECISION

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.

SINGING WHERE WE LIVE

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.