You never know what we'll churn up in cleaning a stall
There are good reasons, of course, for the resemblance between bears and people. But it’s smart to respect the difference.
Still, they have their role in the poems of my In a Heartbeat poetry volume. As do moose and whales.
This 35-page echapbook is available free from the Barometric Pressures author series at Kind of a Hurricane Press. The trail to your own copy opens here.
As I said at the time …
For me, writing means watching my own shifting mind while opening myself up to all the living energies around me. It means simplifying, following unexpected leadings and openings, sometimes to dead ends, other times to unanticipated ranges. Some time ago I discovered that to write poetry I had to be sitting in meditation every day. And later, I found once a week would suffice.
If ego is an ever present trap, the practice can introduce repeated humbling. As do the rejection slips.
Detachment: who wrote that! And when? (The surprise of rediscovering your own work five or ten years later. Who wrote that, it is so incredibly fine! Or: Who wrote that piece of tripe? I’m glad it never saw publication. Sometimes only pages apart.)
And then the piece goes its own way: a living organism: readers, editors see it differently from you. What you would cut they love. What you love they see as sore thumb.
What we’re most fond of is likely to be what bothers others the most; what we’re about to toss out in the next revision may be what is most effective with our readers. (Point raised, I believe, by Joyce Carol Oates; true to my experience.)
As critics of others’ work: harshest, at times, on those whose work is most like our own! Too much mirror? Push ourselves as far as we can, coming to a point where we no longer know if a piece is any good or not only that we’ve done everything in its pursuit that we possibly can at this period in our life.
Prophetic practice: light in the wilderness.
The dilemma of arts/responsibility/spirituality brought into focus by looking at something like the Florentine court of the Medici: High Art interwound with brutal political/economic force. (Throw the man out the fourth floor window; nowadays, we have helicopters. How exquisite.)
The dilemma of the news photographer: Should I save the victim and lose the opportunity of taking a great photograph? Or should I be “professional” and observe the world as an outsider? This holds for all artists: at one point are we being selfish in our pursuits? At what point is our solitude essential for the well being of all?
Into solitude / the Silence / the Holy Now, as Thomas Kelley phrased it.
At its core, I write to discover / remember / connect / distill.
In my writing I collect – that is, bring myself back together. More and more, I think on paper. I write to find what is under the words and phrases before me. Go deeper, and then wider. I write to listen. Eventually, I write to sing.
I’m inclined to agree with Bukowski in blaming Disney (with all that “happy, happy, happy”) for America’s problems. Or even the world’s. Not that I’d agree with his solution for escaping them, meaning cigarettes and the bottle or a barroom brawl and violent sex.
You see, I’m uneasy when it comes to “happiness” as a goal or a life’s purpose. There’s too much suffering and oppression around us, after all, and no spiritual unity with the universe can exist by denying that. Still, that’s not to argue we need to be pulled under with its negative impact.
As for “fun”? I see that as a self-defeating destination. Its flipside, we should note, is boredom.
Joy, however, is another matter. It’s central to the message of Jesus, as the 16th chapter of John makes clear.
To that we could add bliss or contentment, not in the sense of denying the upheavals and evil of the world but rather in the dimension of accepting a personal inner peace that allows one to labor in furthering the Kingdom of Heaven on earth.
For me, this means learning to be more loving, and that’s a never ending challenge. It’s quite different from being giddy or depressed or self-centered or even blaming, gee, I was at the beginning of this post.
Oops! Back to Square One, once again.
Some vegetables turn sweeter if you leave them in the garden after the first hard frost. The Brussels sprouts and kale are good examples.
My wife’s best friend and I are the ones who love the miniature cabbages, and that’s led to a tradition at our Thanksgiving and Christmas dinners, regardless of whether we’re all sitting down to eat at their place or ours. Yes, like me, she’s especially fond of the sprouts, any way they’re served. So here’s looking ahead, with anticipation.
out in the garden, I use an ax to dig out Brussels sprouts
from under two feet of snow
for Christmas dinner
and maybe some kale
to boot
poem copyright 2014 by Jnana Hodson
I read – and write – not to escape the world but rather to more fully engage it. So literature for me hardly falls into the Entertainment category, even when it’s entertaining.
Likewise, my goal in the written word is to perceive some basic or essential connection with new clarity, understanding, and compassion.
This makes a world of difference, page by page. Maybe I’m just looking for holy scripture, even of a secular sort. Or at least the Holy One along with the mundane.
Often, my approach to writing and other fine arts resembles the essence of a dream – one foot in the present, the other in the past. Or, in another way, one foot in concrete reality, the other in fantasy of some sort, such as surrealism, as a way to engage more than I’d otherwise apprehend.
Shifting to the world of epublishing has stimulated a gentle learning curve for me. Maybe because my to-do list has always been much longer than I can manage or maybe because I felt I already had too much detailed work at hand, I’ve tried to avoid becoming a computer geek who spends all his time in the technical minutia. Actually, it’s the same way with my cars – I don’t want to spend my mornings, afternoons, or weekends under the hood or on my back under the chassis; I just want to get in and drive. As for high tech, I’ll wait for all the bugs to get worked out before I buy the updated version, thank you, especially since I’ve always been on a very limited budget. And for the record, I hate Windows 8, which is always interrupting my work by blowing its apps in my face or requiring me to log on again throughout the day.
On the other hand, keyboarding on a computer has been a vast improvement over a typewriter, at least for klutzes like me, and the ability to correct and revise as I go or rewrite and edit later is, well, divine. Sometimes progress really is progress.
And sometimes it isn’t, as we seemed to discover at the office each time we moved on to a new system whether we wanted to or were instead forced to when our current equipment was declared obsolete. (I’ll let others relate those nights of terror when they pulled the plug on what was finally working as promised.)
Participating in the small-press literary scene has been another matter. When I first ventured into email, thanks largely to my now-wife, well, let’s say broadband’s been a huge improvement over those telephone connections and leave it at that. Still, cutting and pasting poems into the email and having them accepted within hours rather than be rejected months later was quite an eye-opener. These days, with most of the liveliest literary action happening in online journals, the process has taken leaps forward; typically, you use a submissions program, upload your file, insert your cover letter, and follow the pieces through the editorial process, if you wish. For a long time, I tried to maintain two sets of files – one for journals that still used, or even required, submissions via the Postal Service, and those that took them online. This year, finding that too complicated, I decided to drop the postal-only journals altogether. (That move, let me add, was hastened by problems with our computer printer as much as the much higher rejection rate on the envelope entries.)
The 2005 publication of my second novel, Ashram, as an ebook was another eye-opener. I was surprised by how easy its preparation was, how quickly it went from acceptance to general availability, and how pleasurable reading a long work on my computer screen could be (even if the work was issued only in PDF format). Unfortunately, we were also a bit ahead of the ebook reading trend and many would-be readers told me of their difficulties in downloading the volume. The other snag was getting the work reviewed at all – even online critics stuck solely to paper editions.
Blogging has revolutionized much of this world, probably more than we realize. For me, avowed neo-Luddite that I am, WordPress has been heavenly. It’s allowed me to take a model “out of the box” and run with it without modification, even if I do admire the customized tweaks many of the rest of you add apparently without hassle. The Blogs That I Follow, searching by topical tags, and Freshly Pressed streams have introduced me to many wonderful voices around the globe for my daily perusal. In fact, I’m still struck that in its first year, the Red Barn had readers in 72 countries. Amazing.
These days I’m learning again. The opportunity to publish my novels to be distributed across a variety of platforms (as they say) has meant following a new set of directions to strip out all the hidden codes (we hope; some of mine go back to the first versions on WordPerfect4.0) and set up the work to flow smoothly in a reading device. (I started to say “reader,” but for me, that will always be a person, not a machine.) I’ll admit that adjusting to the concept of considering a long work as a continuous text, rather than pages, has been major, as has the matter of inserting hyperlinks. Remember, I’m someone who loves the art of printing from its very origins. (How many Gutenberg Bibles have you seen?)
Even so, I’m excited by the new opportunities and the new visual dimensions.
Here we go, again.
Back in the late ’70s I attended a weeklong interdisciplinary conference at Fort Warden State Park on Washington’s Olympic Peninsula, an event that remains a potent influence on my work and thinking. Organized by Sam Hamill, then of Copper Canyon Press, the Power of Animals seminar spanned biology, literature, anthropology, mythology, and more. Presenters included the writers Barry Lopez, Gary Snyder, Howard Norman (then just the author of a chapbook of poems called Born Tying Knots), David Lee, and an equally impressive slate of zoologists and botanists in an interdisciplinary examination of the dimensions of the animal kingdom. One highlight was a stage production from Reed College that relived some of the glorious Coyote tales of the Pacific Northwest.
Now, with the release of my chapbook In a Heartbeat from Barometric Pressures at Kind of a Hurricane Press, I hope to return the favor. This set of poems runs playfully with wild and domestic animals of all sizes and influences as they impact our lives in real and imaginary ways.
To join in, simply click here. And remember, it’s free.
The Barometric Pressures author series at Kind of a Hurricane Press has just published In a Heartbeat, a set of 20 of my poems arising in the animal kingdom. As you can imagine, I’m delighted. Let me roar and crow, if you will.
The set occupies a much different tone and style of my writing from what you’ve previously seen. It ranges from television cartoon characters to ancient mythology as it traces our interplay with our fellow animals across the earth, under the sea, into the air, and throughout our imaginations.
This 35-page echapbook is available free from the Barometric Pressures author series at Kind of a Hurricane Press.
If you decide to print yours out, you might even want to select a fancy paper to make your copy unique.
Let me add, that way I’ll be even happier to autograph yours when we meet. But first, for your copy, click here.
The diamond hitch is a top-of-the-line knot, especially useful in cowboy, mining, or logging country – or, as I apply it, the desert foothills of Washington state found east of the Cascade mountains. Forefront in my related set of poems is the unspoken recognition of diamond hitch as marriage, with its implied images of diamond ring and getting hitched. In the background, also unvoiced, is the diamond symbol of the clear and enduring heart – further extended to intense spiritual quest, as The Diamond Sutra (Vajrachchedika in Sanskrit) demonstrates, found also in the Buddhist linkage of diamond to Dharma. In addition to serving as an emblem for the open range of the American Far West, sagebrush, moreover, suggests wisdom, spice, even the Burning Bush of Moses – the profound influence desert has upheld for prophets and mystics over the millennia.
the Tiki torches, hints of pathways in five directions
from the Smoking Garden
* * *
twilight
with charcoal, glowing and ready
poem copyright 2014 by Jnana Hodson
Jnana's Red Barn 