Employment is a big thread running through my fiction

In my parallel universe, my real-life life, newspapers were caught up in technological “advances” that kept setting us back. Those changes had started well before my sabbatical break, but they were speeding up. Back when I was starting, perforated teletype tape meant we really couldn’t edit stories we received from the Associated Press or United Press International or similar services. And then scanning of typewritten pages made improving even staff reports physically difficult. After that came the early stages of computer screens and keyboards, where editing took about three times longer than it had with a pencil – moving that cursor around took more effort, certainly, and computer crashes were commonplace. These were all matters that impacted the emerging story of Hometown News, though I believe anyone working in a large business office would have parallel experiences to relate.

We forget how much reliability our laptops and PCs have gained. Does anyone else remember losing a draft to a static electricity spark that then erased whatever was on your screen? Or, for that matter, when it was a bigger power outage?

I could detail the shifts from letterpress and hot type to pasteup and eventually pagination or from typewriters and linotype machines to early computers to, well, the digital devices we have today or from letterpress to offset printing and now digital editions skipping paper altogether.

Or similar leaps in photography, as we see in following Kenzie.

~*~

Paid work occupies a large part of most adult lives. Even when it doesn’t, how we handle our money, wealth, time, and so on is a highly emotional issue, no matter what the dismal science of economics insists. (For that line of useful inquiry, go to the Talking Money series on my Chicken Farmer I Still Love You blog.)

I just couldn’t create characters without their having jobs. Well, most of them – the hippie farm had some of dubious means.

Besides, so much of a typical male’s identity and life purpose is tied up in his job, especially when he can take pride in it. The job even defines his social circle.

I didn’t want to add another book about a hopeful writer to the literature. What a cliché. Or a musician or actor or even a painter. How about a plumber or fireman or circus clown?

But I still needed a witness figure for the history abstracted to fiction that was before me. I defaulted to using a photographer, in part because I had wished I had taken up a camera, if only I could have afforded the time and a darkroom, blah-blah-blah, and in part because I had been a serious visual artist in high school. You can see those elements developing in Daffodil Uprising and later coming together in What’s Left, but they also play out in Pit-a-Pat High Jinks and Subway Visions. I’m a highly visual guy in my awareness and thinking, OK? The fact he was employed at a newspaper is one part I couldn’t evade.

I still value novelists who manage to set their story outside of the writing world, and that includes universities. Charles Bukowski gets points for me for his novel Post Office. Well, I guess that’s also where genres kick in, too. They’re about detectives and spacemen and billionaires and cowboys and so on.

Photojournalist? At the time of the first draft of Subway Hitchhikers, I didn’t have any models to draw from, but that quickly changed. I wound up working with some of the best in the business.

Over time, photography, the kind that required light meters and F-stops and film and darkrooms, became ancient history. That part I would have to intensely rework and explain as my books underwent revision, thanks to Cassia in What’s Left.

In contrast, Hometown News was primarily about work. I had no problem in this case where everything took place at a newspaper plant, though the economics of the surrounding community also emerged as a central thread.

Jaya became a more difficult case. Her career in the early drafts was drawn from my newspaper offices and hours, now vaguely abstracted to management in general. It would get more specific in the revised titles, where she specializes in nonprofits management. It’s a real job description in a major component of the economy. For that flash of inspiration, I could look to one neighbor in Dover and the impact she had statewide in peace and social justice matters.

Ever feel like an imposter?

My first brush with the concept came in a hearing a classical musician talk about his arrival in a major symphony orchestra and looking around at all the talent and amazing sound they were creating. “I felt like an imposter,” he said.

Oh, my, I could identify.

Little did I know of the Imposter Syndrome, a term coined by psychologists in the 1970s.

Rather than go into the details and nuances – there are many, look them up if you wish – I’ll mention ten places it hits me.

  1. Music circles. Yup, despite my extensive knowledge of repertoire and so on, I can find myself cowered at times in choir when a technical issue pops up. We’re singing in what key, now that we’ve hit this chord? What do you mean? Or of course I’m supposed to know which Chopin etude that is, not that I play piano.
  2. Books. No matter being a fairly well-read author, there’s no way I can keep up with the output. “Have you read” has a 99.9 percent chance of a negative answer, even in one of my specialty areas. Reading the New York Review makes me feel like a complete ignoramus. How about you?
  3. Poets. At least few other poets or poetry lovers know of the writers I’m most fond of, even the ones considered major figures. Now, what are their best lines?
  4. News events. Forty years in a newsroom and I still can’t follow it all. Local? Regional? National? International? As for the players’ names? Which leads to ….
  5. Politics. A congressman, for one, faces more proposed new legislation than anyone could ever examine. And I’m supposed to be one up? How about city council issues? Like when I’m having a beer once a week with some fine neighbors?
  6. Cambridge. Despite singing in a chorus with a number of Harvard and MIT grads, they are an inside circle. Being told my portrait hangs in one of the dorms on the Yard – I don’t remember which one – only made things worse.
  7. Quakers. There are circles I know but so many more I don’t. As for keeping up with the current reading? Back to books!
  8. People’s names and faces. I’m really at a loss there most of the time. Sorry.
  9. Money dealings. I’m still baffled by our cell phone contract and the monthly bills. As for dealing with car salesmen or realtors? WTF? A guy’s supposed to be savvy with this, right? Well, that leads to truly painful area:
  10. Male role: Yup, capable of repairing anything, solving any problem, knowing just who to contact when needed.

Tell me I’m not alone. Please?

When a fictional scene can use a shot of reality

While I’m thinking about visuals, let me mention a few ways they’ve helped me in creating my novels.

Not to slight dialogue, even when you nail it, or, for that matter, narrative, but a visual detail can be a great way to spark attention in a character development or a scene. It can make a passage visceral. It can rescue a connecting passage that’s gone flat or leaving you floundering for just the right idea.

I don’t know about you, but my memory overlooks a lot of telling specifics in the history I’m investigating. It’s not just memory, either, but so much that should be obvious but we simply block from awareness. That’s where I’ve found photographs to be a great prompt. Sometimes they even provide data, as my Orphan George blog demonstrates in posts examining family photos, when they’ve been available. Other genealogists can weigh in on ways snapshots and portraits have provided crucial data.

Through many of my moves, I didn’t even have a camera. I have no shots of many of the people who were central in my life, not even some of the lovers or places I’ve inhabited. The shots can counter my tendency to idealize. A bit of grit can restore some reality.

In the process of writing and revising my novels, I began collecting photos from magazines or other sources as prompts. This character in my book (often they’re a compression of several real people) might look like the one in this photo or wear something in that. Or here’s a small-town square that would work. They even allowed me to reconstruct a darkroom for Kenzie.

The Internet, of course, has made this backgrounding much easier.

Let’s be clear, you do judge a book by its cover

With my training as an artist, I have some strong feelings about book covers. Most of the ones I see leave me cold. I think they’re too cluttered, and most of them lack a strong graphic element – I prefer a good photograph though am coming around on the painted image argument – and I like a clean, easy to read impression. Some of the typefaces used for the title or the author are nearly impossible to make out.

I did have a friend who was a professional illustrator for a Fortune 500 corporation. CAD (computer assisted design) was overtaking the field, and he felt it was destroying his artist’s hand, the one with the Rhode Island School of Design sharpened skills. His aspiration was to design old-fashioned book jackets, and while his style there wasn’t my cup of tea, I could see its appeal. Fortunately, he conceived a children’s book that took off, in part because it was based on a Pete Seeger song, which did get buyers’ attention. And led to many more all on his own.

I still don’t understand all the nuance, though. Is it true that a certain strand of fantasy is supposed to have a specific element woven into the cover to alert a potential reader that this is the subgenre she’s looking for? You know, maybe a touch of moonlight or a small bat in flight or a golden glimmer in someone’s eye?

I am learning, though. A cover makes a promise with a reader, so I’ve heard at Smashwords.

My thoughts on cover design and some of my favorites appear in earlier posts here at the Red Barn.

Self-publishing requires much more than merely producing a compelling text.

Naming a book is hard enough. For the record, I found naming What’s Left to be my most difficult, as I’ll explain in a future post.

In the world of books, and not just ebooks, a strong cover is crucial.

If you can afford to hire an illustrator or graphic artist to design yours great. I’m envious.

My first novel, in paper, wound up with an “art designer” misfire. Rather than respecting the black-and-white photo of passengers in a subway car, a flat yellow lotus shape was cut into the image with the title and author credits inside that field. It didn’t fly. In addition, my name wasn’t left as simply Jnana, as I desired. It was the full yoga version, an additional five syllables or 14 letters. Well, it kinda has a 1950s feel, even with some graffiti on its walls, but the action was all high hippie ‘60s and early ‘70s. I’m now wondering if getting a tagger to do the cover would have been a more successful alternative. I’m sensing it would have been a more in-your-face result. Buy me now!

For my first round at Smashwords, I hired a book designer who was, I seem to recall, living in the Czech Republic. Emailing made everything easier, including paying him via PayPal, which was new to me. Since he had a deal with a stock agency for low-cost photos, I rifled through its online pages filled with shots that might fit my need.

It’s harder than you’d think.

A good cover isn’t a poster. It’s more like a billboard on a much smaller scale. And your potential readers are zipping by.

The right photo turns out to be a rarity. It has to somehow reflect the story and still attract a buyer.

Even when you find a good fit, there can be problems. For instance, the photo I settled on for Hippie Drum was a black-and-white portrait of a shirtless young male playing a set of Conga drums. It even looked a lot like me at the time of the story. Little did I know how many viewers it repulsed.

There is debate over showing a person’s face on the cover. It can limit a reader’s perception of your central character, for one thing, and one reader’s ideal can be an instant rejection from another.

If you’re going the human face route, you may find the perfect photo with one slight flaw. She’s a redhead while your character’s brunette. It may be easier to tweak the book to fit the cover.

The experience of tweaking a character to fit the cover image.

There’s also a debate over a painted or drawn artwork versus a photograph.

When I got around to designing my own covers, I came upon a drawn image of a single daffodil bloom. How perfect and I still love it. And within the title I inserted a peace emblem for an “O” in DAFFODIL SUNRISE.

A few years later, when I changed the title, that cover went out of circulation. That peace emblem just didn’t work with the new version’s Kindle print-on-demand cover, either.

I have to admit a special fondness to the ones on Subway Visions, Yoga Bootcamp, and the Secret Side of Jaya – none of them photos.

Memories of places in the town I grew up in

I’ve mentioned a few others, such as the art museum, in other posts here. Now, to add a few more, in no particular order. Again, I’m looking at Greater Dayton rather than strictly inside the city limits.

  1. NCR: The National Cash Register Company’s world headquarters looked more like an open college campus with linden trees and pristine lawns than an industrial jumble behind barbed wire and hurricane fencing. It even had a fine auditorium and pipe organ, used for its gatherings of salesmen but also the concerts of the Civic Music Association – I heard a number of famed musicians there. And I was awarded my Eagle Scout badge and later my high school diploma on its stage. And, oh yes, I can’t overlook Old River, the employee park with the lagoon and boating, a fine miniature golf course, and a huge outdoor swimming pool – when one of my buddies whose father worked at NCR and thus had a pass to the park asked if I wanted to go, there was only one possible answer. Please!
  2. The corner display windows at Rikes department store: The pioneering retailer was the place to shop in town, and anytime we took the bus, say to the library or a movie, we’d wind up checking the latest display – especially at Christmas. During my senior year, some of my art work was used in the background of the featured fashion.
  3. The YMCA: I learned to swim at the indoor pool and sometimes applied my allowance to a grilled cheese sandwich later, over on the men’s side. And then, little kid that I was, I enjoyed the freedom of taking the bus home on my own.
  4. Frigidaire employee park: Thanks to my best friend’s father’s employee pass, we spent many summer nights enjoying free Starlight movies. My dad worked for another General Motors division in town, one that had no such benefits.
  5. Troop trails: My Boy Scout troop had a long hike one Sunday a month, in addition to a primitive camping weekend. Our routes often followed a river or crossed farmlands or even trekked along railroad tracks. I remember especially a few that traced the abandoned Miami-Erie Canal with its mule bank and its eerie remains of limestone locks left in vines and trees.
  6. Suicide Hill: A decent snowfall (quite modest by what I’ve experienced since) meant sledding at Hills and Dales Park. How insignificant the slope looks now, but there were some serious injuries. I had a near call.
  7. Memorial Hall: It really wasn’t designed for concerts, but it’s where the Philharmonic performed, and since my dad had access to tickets, I heard many top soloists. Hard to believe now, actually.
  8. Our big ugly high school: built in the 1960s and long since torn down. In my memory, I recall it more than the older but equally ugly elementary school.
  9. Yellow Springs: Once I got my driver’s license, the bohemian town in Greene County, home of Antioch College, became a welcome retreat. Its funky stores, before funky was a word in my consciousness, were mind-expanding. Nowhere else could we find Earl Grey or gunpowder tea or sticks of incense or perfumed soaps. Then there was the professional summer theater series at the amphitheater, itself a revelation. By that time, I was in love, at last. And that leads to mention of a covered bridge by moonlight: Yes, making out afterward in the moonlight at a covered bridge that’s no longer existent down an unpaved road.
  10. The Art Theater: Where I first saw foreign films, black-and-white alternatives to Hollywood’s commercial concoctions. And then there was the Lemon Tree coffee house next door with its folk music and blues.

My, all that was a world ago in my life.

 

Now, for standing on my head

I’m not sure when or where I began drafting my yoga novel or where, but I know the bones were in place before I began my self-declared sabbatical in 1986-87. Perhaps it was during my month of unemployment before landing in Baltimore. For one thing, I had revisited the ashram in the year before my big writing spree and perhaps even driven past it the previous year. I was hoping to get some answers for questions regarding my manuscript must say the encounter was unsettling. I wasn’t even allowed inside the center, and the woman who had taken over as guru declared herself too busy to say hi. A deputy was dispatched for that, with tea, while I sat beside Swami’s grave.

Well, that was a perk of being “on the road” as a newspaper features salesman, otherwise known as “field representative.” I even got my name in brochures and full-color ads in the industry magazine Editor & Publisher.

My ashram residency a dozen or so years earlier had been life-changing, but the connection broke completely when I relocated to the Pacific Northwest in 1976. Swami had demanded a large chunk of my meagre salary, and besides, I was newly married with a wife in college. The upshot, quite simply, was that I felt ostracized. I was certainly shunned it that social call. In the bigger picture, the yoga movement itself had gone into eclipse and my own spiritual journey had resettled in the Quaker vein.

Still, the yoga life in America was a largely untold story, even if it had put “karma” and “om” into the American vocabulary and mindset.

When I began drafting the book, I had no idea where everyone had scattered and had no way of contacting them. I mean, if I was ostracized, what was the point of contacting the headquarters? Did I even know that Swami had died? Perhaps, though some communication I had with someone who had been a regular guest and went from being a rock-band manager to a Messianic Christian comedian. I managed to make that connection through a wire-service news story I came across before my leap to Baltimore. So now I’m thinking the yoga novel originated even earlier than I’d thought. (I really do need to sit down with my journals for a very deep dive.)

I do see that some of the outtakes from Subway Hitchhikers were woven into what became my second published book, Adventures on a Yoga Farm, which came out as pioneering PDF ebook from PulpBits.com in 2005.

~*~

What do you do with a rogue outfit like ours? I definitely wanted to avoid the sticky sweet guru worship I’d seen in other books, and I definitely wanted to avoid a scandal-mongering expose, though I would later find that nearly all of the religious imports from Asia would face financial or sexual embarrassment. Michael Downing’s 2002 Shoes Outside the Door: Desire, Devotion, and Excess at San Francisco Zen Center would cover that reality in one of the more prominent and, up till then, respectable organizations.

When I sat down to write my novel, I decided to stick to one day in the community’s life. I created a composite of eight young yogis and their woman swami guru. Each resident student represented a different stage of development. It also involved compressing the two years of my experience into a single day. I’m guessing the one-day focus reflected the Greek theater ideal.

And I do stand by my original structure of eight disciples within a single day.

The book was republished via Smashwords in 2013, this time with more popular platform choices than PDF. My, have times changed.

What I really wanted, I think, was my own version of Be Here Now.

I don’t think I could have adequately presented the inner turmoil of a charismatic leader without a college degree now having a tiger by the tail much less uncovered all that got covered up in the frenzy.

Would anyone really care?

On former girlfriends and lovers

For me, this is ancient history, back before my second marriage more than two decades ago. Still, I get questioned about my deep past, and sometimes that has me looking at my previous romances and adventures collectively, rather than individually.

Here’s the latest take.

  1. None of them were like my mother, as far as I can see. There are good reasons for that.
  2. I was attracted to potential. As in “promise,” which was the original title of my novel now standing as Nearly Canaan.
  3. I put them up on pedestal. Up there, beside mine.
  4. Most were intelligent, though not always of a scholarly bent, as well as attractive.
  5. I am having trouble seeing deep mutual interests. Spirituality, especially along Quaker lines, classical music, and literature are central pursuits of mine, and being with someone who shared even one of those felt like Eureka. Contradancing worked as a connector for several of them. But for the rest?
  6. There are now questions of just exactly what I offered them. How often was I trying to be the white knight coming to their rescue?
  7. They were all younger than me. (Not that I’d advise that.)
  8. Were they all crazy, one way or another? That has been suggested. And, no, I don’t see myself as a victim.
  9. Except for a couple of them, I doubt they’ve ever visited this blog or read anything else I’ve written in the years since we were together.
  10. These things rarely end well. As in happily ever after.

Poetry has been an influence, too

Through much of my adult life, I’ve spent more time writing and distilling poetry than I did with fiction.

Part of the reason was that poetry fit my once-a-week time for sustained “butt time” addressed to my literary efforts. A novel, in contrast, requires a bigger window, at least for me. I have to admire mothers who put something good together while toddlers and family meals gave little respite.

For me, the practice of poetry, both as a writer and reader, springs from the practice of meditation I took up as a yogi and continued as a Quaker, though now it’s once or twice a week rather than daily.

Prose simply feels more secular and aimed more at a general reader. And even there, I’ve come to see that writing hundreds of thousands of headlines for a living had a poetic component in its brevity. My personal writing was one way of staying sharp there. As for the hundreds of thousands of newspaper pages I designed? They did fall back on that intense visual art training in high school.

Like my fiction, my poetry originated in trying to remember and make sense of what was happening around and within me. Sometimes, when I got around to a manuscript of fiction, I would cannibalize a poem, especially if it hadn’t yet been published in a journal. That was especially true when it came to Nearly Canaan and the Secret Side of Jaya.

I wonder if any of this goes back to my childhood interest in chemistry and then being stymied when I wasn’t taught algebra when I needed it, back in fifth and sixth grades. Freshman year of high school was too late, my line of inquiry had shifted to classical music and visual art.

Poetry is a kind of equation, even geology, rather than the Friday night football game a novel can play.

~*~

My juggling act between the daily journalism that paid my bills and the literary aspirations that I hoped would finally free me did result in what I’ve come to see as literary graffiti – flashes written on the run, even when they then underwent much distillation and refining. I think that’s most obvious in Subway Visions, Nearly Canaan, and the Secret Side of Jaya but also befits everything except What’s Left, and even there may have crept in through the earlier outtakes I wove in.

~*~

Shortly after my books were up at Smashwords, a fine writer I know told me over coffee that I was more of a poet than a novelist. Ouch! He may have even said a better poet than novelist.

I hope I’ve improved since then and have arrived at a better balance in the revised books.

Now, for some ‘Bodoni-Bodoni’

Hometown News is the one novel Cassia from What’s Left didn’t press me to revise, but it got the treatment anyway. At least the title stayed the same, though the subtitle “Reports from Trump country” was added.

Political novels rarely work, so I’ve heard. And I didn’t pitch this was as dystopia, though casting the book more along those lines might have been more successful.

The book still stands apart from my others.

In the time since its first draft and my big round of deep revision, much that I had investigated only worsened. The once powerful newspaper industry was a ghost of itself, and many of the once legendary nameplates were owned by hedge funds whose owners or managers were among the world’s top billionaires. The Rust Belt communities like Rehoboth still hadn’t rebounded – their lucrative unionized manufacturing jobs were never coming back, either.

~*~

Unlike my previous newspapers, the final one I served had job security and decent wages, thanks to our Newspaper Guild representation. I finally made it to median income, even.

Socially, its newsroom broke down into three distinct circles with little overlap. There was the daytime staff, an echo from the days when we still had an afternoon edition; it was the crew that did the features and opinion pages. The nightside staff produced the next day’s daily editions right up to 1 a.m. And the Sunday News staff worked a four-day week culminating in a double shift on Saturday. We got to know each other the most through union meetings revolving around contract time.

At my first paper, where we worked into the night, the staff usually gathered at the bar next door after their shifts and stayed till closing time.

At another, where we were mostly young and without kids, it was on Friday afternoon – the POETS society, as our divorced city editor dubbed it: Piss On Everything, Tomorrow’s Saturday.

Usually, everybody lived at a distance from the newspaper plant. Few could afford the rents or mortgages in the city of publication.

I can’t speak for other office situations or professions, but I did find that close friendships were rare. You knew your coworkers more by a phrase or two they repeated or a favored style of clothing they wore or, as some of the guys seemed to do, by the kind of car they owned.

Still, things came up at parties. Consider the quip from one generally naïve woman regarding the allegator-skin cowboy boots one of the sportswriters once appeared in: “Hey, you look like a pimp. What’s up?” And then the shock we felt a month or two later when he was arrested, having procured women and motel rooms for men in the car racing circles he covered.

At these gatherings we usually huddled around the share our war stories and talk what one spouse dubbed “Bodoni-Bodoni,” after a widely used headline typeface.

Most of the papers I worked at were the smaller operation in a broader market. And I usually was part of a news team with a competitive, aggressive mindset. That part was exciting.

In the revisions, I did have a new paper to draw on, not that it was of the progressive mold I was pursing in the book. The daily interactions, though, could be just as rich.

~*~

From what I’ve seen, the situation of low-level, “shirt-sleeves” managers has only worsened across the board. Perhaps the Covid pandemic work-from-home option has eased the pressures on white-collar jobs, but that happened after my final revision.

There was little job security in working for mass-media companies. When I was with the features syndicate, I’d spend a year nurturing a relationship with the top editor, who promised to buy a certain comic strip or opinion-page columnist or weekly business report from me when the next annual budget was approved – only he was gone by then. Turnover was high, often blamed on “bad numbers” like shrinking circulation or advertising revenue. Or, in one case, because the company headquarters decided to buy a radio and TV broadcast chain.

I do wonder what happened to several of the family-owned papers I called on. They’re top editors didn’t feel a need to attend the usual annual conventions where networking occurred.

I should also mention that several of the papers I worked for did bring in management consultants, giving rise to the team in my novel. Give credit to the one that threw up its hands halfway into the projected year of monthly meetings, declaring that the news business just didn’t fit any of their models.

The Dilbert comic strip touched on many of the office realities, but at a superficial level.

Best-selling management books – Tom Peters’ In Search of Excellence, for example – were exciting but didn’t reflect the everyday realities we faced meeting hourly deadlines leading up to the big, final deadlines. The ones you didn’t dare miss by more than a few minutes.

~*~

So I made tweaks to strengthen the focus on central characters and acknowledge the big hit from the Internet.

~*~

I should say something about public misconceptions of journalists and their papers.

One colleague, who lived a block from me in the town I call Rehoboth, told of a neighbor who complained to him every time the met around the driveway. There was always something wrong with something we’d done. Finally, my buddy fired back. “What do you think the reporter of that story is paid?” The man, a steelworker, fired off a figure. “Less than half of that,” my buddy said, “and she has a Master’s degree.” The man was shocked. After that, he always had something good to say.

As for the right-wing perception of liberal bias, the reality was that many of the biggest papers were unabashedly conservative: Chicago Tribune, Los Angeles Times, Phoenix Republic, Boston Herald, Cincinnati Enquirer, Columbus Dispatch, Indianapolis Star, and probably the majority in the smaller markets. And that was before Fox.

If there’s a bias, it’s for facts rather than presumptions. The Louisville Courier Journal’s Pat Siddons, who covered Bloomington, once said. “I know I have a controversial issue right when I get complaints from both sides of a story I’m covering.”

The fact that journalists are largely low-paid, working nights, weekends, and holidays, did nothing to incline them toward big business, though. One thing we hated was injustice. Another was the lies that accompany it.

~*~

Trying to locate Rehoboth?

It was a composite, drawn mostly from the Rust Belt that extended from Philadelphia and Baltimore west to the Mississippi or so. While my book describes the steel mill that dominated the town, similar communities may have had auto assembly plants, appliance manufacturers, parts makers – the list would be long, like the empty factories they left behind. I observed large swaths of devastated industrial zones in Youngstown, around Pittsburgh and greater Philadelphia or upstate New York or Detroit – places that resembled arial bombing scenes from World War II Germany and Japan. Similar scenes existed along the Lake Michigan shoreline of Indiana, and across Wisconsin and Michigan.

I could now add to that the former papermill towns of Maine.

The fact that there’s personal breakdown as well, as I present in the story, is more than symbolic.

~*~

As for authors and books percolating through me during the final revision and later, the culture J.D. Vance describes in Hillbilly Elegy is one I knew well. Our high school basketball team played his, for one thing, and I had toured its steel mill twice as a Boy Scout. His Middletown could be one more nominee for my Rehoboth.

Add to that Ben Hamper’s Rivethead: Tales from the assembly line, David Foster Wallace’s The Broom of the System, Charles Bukowski’s fiction, a shelf of business case-studies, Kenneth Patchen’s poetry, E.F. Schumacher’s Small Is Beautiful. And Brian Alexander’s Glass House: the 1% economy and the shattering of the all-American town is high on my TBR pile.

~*~

Seeing the loss of status and influence of an independent press has been personally painful, as has the breakdown of communities despite the opportunities of small is beautiful, especially in the Midwest.

Since the final revision, one of the figures in my book, the major scumbag, really, died in a horrific late-night car crash. And pneumonia took out Major Bohroh a little over a year ago.

If I were to tweak Hometown News yet one more time, I’d intensify their evil nature.

Consider that bold ‘John Hancock’ on paper

As a writer, I love what alphabet letters and words by themselves can do on paper, apart from any meaning. Just look at one man’s intrepid signature on the Declaration of Independence and try to imagine that document without it.

I used to love visiting a friend who was a professional calligrapher and type designer. This was her life’s work.

Are other writers also inspired by such visual artistry?

The Lilly rare book library at Indiana University puts on exhibits of historic volumes, not just their typography and inside pages but also their bindings, endpapers, and spines. This is part of a legacy every serious writer is indebted to.

In its reading room I delighted in periodicals from the 1700s as well as contemporary poetry broadsides, limited edition prints intended to be framed and displayed on walls or preserved in rich patrons’ collections. Who wouldn’t aspire to see their own work presented as such a creation?

And then there were the psychedelic rock concert posters for the Fillmore back in the 1960s. If words could dance, they certainly do so here.

~*~

Most people are baffled by the wealth that gets doled out to acquire a painting or even a bottle of very old wine. I’m not in their camp, either a collector or a scoffer.

I will, however, declare what some people spend for trendy items they assume will be valuable someday – baseball cards included – is utter folly.

What I will defend is those individuals who spend a fortune to preserve an exalted example of inspiration – and I worry about those who might use possession as an opportunity for ostentatious destruction. Consider the lost Buddhist statues in Afghanistan for the latter.

I raise this out of gratitude for those patrons who preserve examples of excellence.

~*~

While I lament the loss of the craftsmanship involved in the letterpress printing of my early days in journalism, I am recognizing that online design has come a long way in even the last decade. Much of it is truly striking. Still, even as an ebook author and a prolific blogger, I still hold a special place in my heart for fine paper that’s attuned to the words entrusted to it.

That said, what else do you know about Mr. Hancock other than his signature?