My newest book, Pit-a-Pat High Jinks, is a thorough reworking of my earlier Hippie Drum and Hippie Love novels.

Here are ten ways the result is new and improved.

1. These events are now seen a generation later by the protagonist’s daughter, Cassia, even if she has to pinch her nostrils closed while admitting some of the love scenes. She’s not as vocal here or as perceptible as she is in Daffodil Uprising, but she nevertheless instills a critical distance. There are good reasons so much of this era still puzzles her.
2. Many of the characters are renamed, starting with our hippie boy, Kenzie, and they’re now more fully developed. The backstory for Shoshanna, especially, emotionally blew me away while revising her part of the plot.
3. Drummer has evolved. He’s now Kenzie’s best friend and an integral counterpoint to the happenings, as is his pit-a-pat on his very private collection of drumheads.
4. This is the ’70s rather than a blend with the ’60s. Woodstock has happened, and the movement is heading off in many new directions. One of them is what’s supposed to be a hassle-free back-to-the-earth lifestyle like the one Kenzie’s landed in.
5. The two earlier novels are woven together. Originally, in the first one, Kenzie usually fails to land himself in bed – a reflection of the reality that in the hippie era, not everyone was getting laid all the time. That version focused more on his housemates and friends in town. In the other story, he’s far more successful sexually, though the events still lead to the same ending. In the new blended novel, he’s one hot dude, though it’s not always obvious how much of the action is a consequence of his imagination or dreaming and how much matches reality.
6. The blending instills a clearer plot line. His farmhouse and his social circle around campus are given balance, and his sequence of lovers advances his wisdom.
7. Kenzie’s attraction to Buddhism is more fully explained. The Tibetan practices transform him, inside and out.
8. The playful, even dizzying thrust of the original two novels is now countered by meaningful times of loneliness and brooding. Being hippie, after all, was no guarantee of always being happy. Quite the opposite. It often involved extremes of feeling.
9. This novel is now character-driven, rather than running along the surfaces of its actions. The actions grow largely from their individual emotions.
10. It’s all about connections. The people Kenzie meets lead to new adventures and first-hand discoveries.

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What, me as a Mixmaster?

Just look at the topics percolating in my novel Daffodil Uprising.

Here are ten:

1. The Sixties. As the subtitle says, this book is about the making of a hippie. It’s a turbulent time.
2. The Establishment. The military-industrial complex and its old-boy network hold undue sway on the direction of the university, often at the expense of the students or faculty. How can their power trips be thwarted?
3. Marijuana and other illicit drugs. Recreational substance use become commonplace, a unifying element for many youths. But it comes at a cost.
4. Free love. The Pill changes sexual relationships, no doubt about that. But romantic relationships are still tricky.
5. Antiwar protests and the military draft weigh heavily on young adult American males. It fuels anger, fear, and a sense of helplessness.
6. Mentors and elders. While Kenzie comes to Daffodil to be nurtured in a fast-track fine arts curriculum, the place he really finds guidance is among his peers – especially the elders in his dorm and his future sister-in-law Nita. They are crucial to his personal growth.
7. Community and network. Kenzie’s interactions with dormmates and, later, his housemates plus select others are essential for his survival and advancement. It’s not healthy to be alone, no matter how independent you imagine yourself to be.
8. The practice of an art. Photography is central to Kenzie’s self-identity, but he is still looking to see exactly where that leads. Having a concert pianist as a roommate adds to his comprehension as an artist. And then there’s his dorm’s little literary enterprise, pushing him in an entirely different direction. How far can he bend?
9. High hopes and broken promises. Kenzie and his circle are so green and full of dreams. The university itself recruits him for an enterprising career track, and then his passionate embrace of the lover who fuels aspirations of soul mate send him even higher. But not everything is rosy, and the disillusionment can be crushing.
10. The American Midwest. Kenzie’s roots in Iowa and his new surroundings in southern Indiana give a particular flavor to the developments. It’s not as out-of-the-way as they think.

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My new novel Daffodil Uprising is a meatier, more emotional work than its earlier incarnation, Daffodil Sunrise.

Here are ten reasons.

1. The people and events are now seen from Cassia’s perspective. Just look at her snide commentary for amusement and relief. Really.
2. Many of the characters have been renamed, starting with the one who would become her father in What’s Left. They’re more fully developed, for sure. In the previous version, the dorm inmates ran as a pack. Now they’re spread out by age and interests, and three of them serve as wise elders for the newbies.
3. Her father’s reasons for coming east to Indiana are more clearly defined. As a photographer, he’s part of a fast-track program in the fine arts.
4. Two new characters introduce elements of fantasy and paranormal. The Victorian elements in the earlier version are now amplified.
5. The focus in now more on their emotions in reaction to the happenings.
6. The story is now character-driven, more than erupting from the plot.
7. This is about boyz, especially, trying to make sense of a confusing world, even before they get to the girls.
8. This version, for all of its light playfulness, is now more baroque and brooding. That matter of loving a flower child, for one, is far more difficult than you might imagine. Or, for her, that matter of sticking with someone as flawed as Cassia’s future father could produce a really baffling relationship.
9. More dark sides of the era are introduced. It’s not just early questions about vampires or ghosts on the campus, but the violent fringe of the time, too. Just what are they to make of the protest bombings or the drug overdoses, for instance? Or their failure to live up to the responsibilities of living together?
10. This is clearly focused on the Sixties rather than reaching out into what would come after. It’s the making of a hippie, in particular. Hey, just don’t blame him.

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