Newspapers that have shaped my career

With all of the consolidations and bottom-line corporate emphasis that overtook the newspaper industry in the last decades of the 20th century, before the Internet delivered its own whammy to circulation and revenue, you could find publications large and small that had their own unique style and voice. A signature, if you will. Even by the mid-80s, when I was making sales calls to locales across the Northeast, the majority of the papers I visited were cookie-cutter operations focused on basics like city council and school board meetings, high school sports scores, and obituaries.

That’s not what attracted me to the business, as you probably know by now.

Today let’s look at ten newspapers that did inspire me in my evolution as a journalist.

  1. Dayton Journal Herald: This was the morning paper, six days a week, so we got a color comics section on Saturday. The rival Dayton Daily News had the Sunday edition, with its own color comics. When the paper was created in 1949 from the merger of the Journal and the Evening Herald, it was a moderate Republican voice under editor and publisher Dwight Young, who built on a tradition of family-friendly while downplaying sensation and crime. Instead of “women’s news” or “society pages,” the Modern Living section under Marj Heyduck’s guidance was a pioneer in what would become lifestyle coverage, or “features,” which played a big role in my own career. Similarly, Glenn Thompson, the first editor to hire me, had a knack for giving other people credit for his own ideas and visions, and then pushing them forward to completion – including the new Wright State University I attended my first year and a half of college. Glenn, too, was the one who impressed upon me the importance of keeping a personal journal. The opinion page also included short, whimsical editorials in addition to the more serious ones. He believed a paper had an obligation to educate its readers, rather than pander to their lower instincts.
  2. New York Herald Tribune: Among the out-of-town papers available at Wilkie’s News on Ludlow Street during my high school years, the Herald Tribune in its final stretch was a scrappy, classy, competitive, pioneering revelation. It had some great writers – among them Tom Wolfe and Jimmy Breslin of the new journalism stream – plus elegant layout with some tabloid playfulness in headlines. Its Sunday magazine was called New York, which wound up surviving on its own. In my estimation, the Herald Trib was the greatest newspaper ever, even if it couldn’t match the resources of the Times. Alas, the economics of the Big Apple did it in.
  3. The Village Voice: This gritty weekly tabloid, also available at Wilkie’s, covered an underbelly of Gotham, with a strong emphasis on the arts and literary life. Its long stories would continue by jumping from page to page, if necessary. In effect, it came from another planet that somehow called to me.
  4. Christian Science Monitor: Another of the influences in my budding journalist mode, the Monitor by necessity couldn’t compete on breaking news deadlines. Instead, it stepped back a bit, took a longer, more thoughtful view, and presented its reports in a very orderly publication.
  5. Wall Street Journal: What caught me was its front-page “leaders,” three long stories each filling a column from the nameplate down before jumping inside. These were so thoroughly edited that reporters said they no longer recognized their own work, but the results were captivating and enlightening. I have a fondness for in-depth perspectives, and these delivered, sometimes on the most off-beat topics. Its layout, however, ran counter to mine, until someone pointed out to me how the Journal could be folded in quarters, to be read on the subway or commuter trains. That part was nifty.
  6. Chicago Daily News: When the Windy City had four papers, the Daily News had the calmest appearance. I imagine it played photos the best – not a given in that era – and it did have Mike Royko among its stable of writers. Also interesting to study were the competitive papers of Toronto’s press scene and then Montreal’s – the Globe and Mail made for a fine competitor to the New York Times.
  7. Louisville Courier-Journal: Bloomington, home of Indiana University, sits roughly midway between Indianapolis, the state capital, and Louisville, Kentucky, and the newspapers of those cities had major circulation and coverage of the campus. As a student at IU, my first impression of the CJ was cold and colorless, something that changed the more I came to trust its thoroughness and progressive stance. I quickly appreciated its uncluttered front page – just four or five stories in addition to a strong photograph – revolutionary at the time. Oh, and it had not just an editorial page cartoonist but one with his own unique style, one that wove the name of his wife into each cartoon. The CJ’s afternoon sister paper, the Louisville Times, stayed closer to home but was quite frisky in contrast. The archconservative Indianapolis Star, meanwhile, just felt stale, all the way around.
  8. New York Times: Once I was working in Upstate New York, the “Gray Old Lady” came more into my awareness. In the newsroom, we copy editors grabbed a quick look around 6:30 or 8, in a break of our own flow. It was at home or with friends on Sundays that I discovered the Times as a communal feast, with sections to be divvied up and then swapped. Arts was big for me, as was the books section and magazine.
  9. New York Daily News: Not my style but I did have to envy some of the snappy headlines or reader-oriented sass.
  10. Allentown Morning Call: In the mid-70s this Pennsylvania Dutch country paper took a huge leap in design and news presentation. It considered the front page as a poster, to be reconfigured as the day’s offerings required. Photojournalism was finally being taken seriously on its own merits, as the Call understood. At the heart of the project was the paper’s Lifestyle section cover and contents. The paper had the resources to splurge as it wished, without having to scrimp on essentials. I later worked for the man behind that tradition-breaking venture, though as he pointed out later, I was doing what a staff of 17 had in Allentown. No wonder I was burnt out.

 

Trying to keep the poems coming

My journal, Vol. 53, started on 13 Feb. 79. “So long since the magic” and MEDICINE BIRD inscribed on the inside cover. [Well, it was February!]

Includes the Power of Animals conference … look at spinning that off as a Chronicle [which I did, now available as a free booklet my Thistle Finch blog]; mention the theater performance of Coyote stories … in my timeline, I’m surprised that this comes after the trip to Victoria, though that makes sense for me now, considering the experience in the museum of the coastal lodges through the cold, wet months …

The way out of the place I am (poetry/politics/employment) is by the way I came in.

More or less.

The Real Work goes on anywhere you engage it.

~*~

In these rounds of place, the poems keep coming!

25 Feb ’79

Letter and return of mss from Sam Hamill. Difficulty of critique for one more typing. Following a letter from Jorg, with need for some other poetry revisions. In all, three books and not enough time.

Asanas / Vasanas

DOWN INTO THE BODY

poems seated into positions, possibly

Creeley’s attempt to obliterate all references to concrete world, sticking instead to abstractions, so that even his beach or moon remain words in the mind rather than specified points in space.

Here I am, sharing Snyder’s distrust of “head games” with all their blinking ego.

Meanwhile, Ginsberg weighs in with breath, chanting, sound, the whole world of Love: Ahimsa!

Somebody, somewhere, dismissing Snyder as a “Polaroid poet,” a line striking me as a Polaroid critic. Yet I must wonder whether my poems are just reflecting snapshots or am I instead crystalizing moments of awe and wonder as they manifest as relationships?

Whenever I return to verse, I want a wild WHOLE MAN IN craziness … twisting yet singing

I’m tired of seeking precision. The revisions are wearing me out.

As for rejections? Should I send them out again? Postage bills?

Where has this decade gone? Still no book in type. Seven or eight years of expectation, the last two so close. The last year, “deception.” The novel, torn up like asphalt.

Building up, cleaning out, going for the knock-out. My own.

Story idea: first-person singular, semi-fictional: DAYTON. It would open on Grandpa’s porch — the light, plum tree, mailbox, chains of the swing / then inside, wallpaper, Barcalounger, attic, windows, giant fan. North Room. Pipeyard. Euclid Avenue, church, farmers market, pigs feet, Boy Scouts. Our own colorless existence. Crawdads. The fort under the damp pine tree. Shaker farms turned into state hospital. Backpacking. Suburban sprawl. Neglected neighbors, resentments. Antioch, Waynesville, etc.

The importance would be fragmentary details. My natural history museum classes, Art Institute (the armor, mummies, plaster gone!). The Ford dealer’s Kodiak bears. Saturday morning comics (newspaper and TV, too) … funnies being read to us in our parents’ bed, with new ones on Sunday …

 The Stone / Jorg project. So strange working on a project with no idea of where it’s heading. Book? Chapbook? Shared volume. With so little control over its shape, unpublished poems selected by an editor. A range of voice and form in the batches he’s already selected, but it’s not work I would have placed together. I can only write and ship, letting the rest take it’s own shape.

I hope Jorg “rhymes” with me, in Sam Hamill’s phrasing.

Jorg accepted “Wind. The Cloth. My Mind” but rejected two other poems outright and felf another was too much was like snapshots or a personal photo album …”

A high country trail at Mount Rainier National Park, photo by Elizabeth Carbaja at Pexels. The air smelled quite different in the surrounding forest as well as in the sub-alpine terrain above.

~*~

Kitty, reflecting on Whiz’s gallery show: “$45 a strange price for a picture; $30 is tops for one range, then skips to say $60. He should have had some small things, framed, that would sell and then some big things, matted, for showing.”

Coming from? “Nobody in art teaches marketing.”

Plus: “One thing I learned for [Bill] Dunning — I can put together a super portfolio. Everybody remarks on how impressive our portfolios are.”

For the most part, photography was rarely esteemed as “fine art.”

~*~

In my dream, two readers, small mag editors most likely, “We don’t change much — tone down outright statements, make the endings stronger.” Me, holding their first issue with somebody standing over my shoulder: “What went wrong? This stuff’s mostly trash!”

~*~

From Spiralbound Cascadia with commentary.

 

In the end, it is a mysterious process

And you wonder what’s behind those stories?

  1. “Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.” — Neil Gaiman
  2. “Everything you could ever think of has been written. That’s worth saying three times. You’re not going to think of a new idea, per se, as far as plot or story. What you can infuse it with is your voice, because while every story has been written, there is only one you. We are unique snowflakes. Be yourself. Tell the story about the teddy bear who can talk, but give it your voice. Don’t try to make it Corduroy or Winnie-the-Pooh. Make it your teddy bear. That’s what you can give the world — give the world your voice.” — Drew Daywalt
  3. “I never tired of learning about the stories of strong women and finding a compelling way to tell those stories. I love to discuss the themes in the book — cultural standards, resilience, overcoming odds, equality, breaking barriers — so even when I’m tired, I’m always energized by the opportunity to have meaningful conversations around this work.” — Haley Shapley
  4. “An adjective habit, or a wordy, diffuse, flowery habit, once fastened upon a person, is as hard to get rid of as any other vice.” — Mark Twain
  5. “Acutely aware of the poverty of my means, language became an obstacle. At every page, I thought, ‘That’s not it.’ So I began again with other verbs and other images. No, that wasn’t it either. But what exactly was that it I was searching for? It must have been all that eludes us, hidden behind a veil so as not to be stolen, usurped and trivialized. Words seemed weak and pale.” — Elie Wiesel
  6. “The writing life is essentially one of solitary confinement — if you can’t deal with this you needn’t apply.” — Will Self
  7. “Dull, awful jobs like laundry, ironing and weeding suddenly feel like an urgent priority when you’re looking at a blank page that needs to be filled with a couple of thousand words before you can sit back and breathe deeply. … Writing is my joy, but not always; much of the time it is my job, and I have to write whether I feel like it or not, whether inspiration strikes or not. Th at is how you make a story unfold.” — Jane Green
  8. “Work on a computer that is disconnected from the Internet.” — Zadie Smith [Oh, but it makes quick research so much easier. I’ve definitely been relying on online dictionaries, for one.]
  9. “Sometimes the ideas just come to me. Other times I have to sweat and almost bleed to make ideas come. It’s a mysterious process, but I hope I never find out exactly how it works. I like a mystery, as you may have noticed.” — J.K. Rowling
  10. “But ‘constructive’ criticism irritates me. I do not object to being denounced, but I can’t abide being schoolmastered, especially by men I regard as imbeciles.” or “Explanations exist; they have existed for all time; there is always a well-known solution to every human problem — neat, plausible, and wrong.” — H.L. Mencken

 

Poets and more poets

In E’burg, met a poet — Richard Danner — who couldn’t put his wife in a poem until they split, after 12 years of marriage, allowing him to write a book, Single Space. And how jealous they became of the other’s writings.

There’s a dilemma of consider her as an objective subject to be, um, exploited.

Maybe some things deserve to remain private.

Pflum said the words he likes to use are the conditionals: if, then, because, ad infinitum: the words of logic, of possibility, of thought itself …

Yet they often dilute the action. Somehow, they work for him, though.

Kentucky Fried Movie opens with the line, “The popcorn you are eating has been pissed in,” and deteriorates from there.

I have so many overdue books from the library yet don’t want to return them just now.

The Ellensburg library has a whole set of early Cetra opera LPs. Unlike Yakima’s.

20 Apr

Finished the longpoem.

Kitty phoned, depressed, wouldn’t say why.

Why do I put up with it?

Off to the office. [Was I journaling early a.m., after meditation etc.?]

Flow of revisions, largely the Leonard Springs pieces …

Cherries deep red, about to be picked …

Perfection versus sterility

The bounty of the prairie: abide in it

Milton! Getting down to him at last … his head and heart going in opposite directions … damn theology but his heart betraying that in the few moments it can. He was blind to more than vision.

Ideas for revising Native tales: use Bob White or even Rbt. White for quail. Logger, Cutter, even Sawyer for beaver. Cops, FBI, CIA, spooks for monsters or evil spirits. Lawyers for lazy characters or blue jays. Jesus for coyote. Update and urbanize, satirize modern society. Consider quaint spellings for Wyatt, Philip, Sidney, William, Dunbar, etc.

Weave in some glare and grime.

In English poetry, the weight of Christian doctrine closing the range of thought and sensibility to a single, predictable line. Thus, the wonder of Blake’s singular accomplishments.

20:VI

A letter from Copper Canyon Press, wanting to publish my book if “patronly folks” will come through with “essential cash” … great letter, exciting potential (retitle and some revising) …

Also, from Celeste, a tearsheet from a Seattle weekly reinterpreting the Mexican movie Chac, about a “diviner” who carves out his own heart at the end: this piece now viewing the events through Native perspectives … {We had seen the movie at one of Seattle’s art film houses.]

My compulsive reading, a suppressed hunger

 Revising poems with a tape recorder … a whole new perspective …

 24 Sept Sunday

Heard Bill Stafford read last night in E’burg at Washington State Poets Assn or some such … Grimes and Bodeen were there to sell Yakimas that had just come out the day before. Audience mostly elderly, stout ladies who sighed over lines and applauded single works. I get tired of so many short pieces that fail to break through the prose barrier and do the magic in the backcountry of so much of today’s verse, the realm so few have entered. Grimes said Stafford had done an amazing reading at Cedar Falls, hardly said a word except for what he read, but here he was explaining each one or offering some kind of patter for it. I said he was playing to his audience, and BG agreed fully. Two pitchers of beer for Grimes and me, Bodeen ordering root beer — “this tastes like tomato juice” — getting red beer instead, finally settling on strawberry. First time since he was 17 he’d gone a week without alcohol — “ttat’s seven days, not five,” Grimes explained.

The owner said he had hired Kitty “to give the joint some class”

~*~

From Spiralbound Cascadia with commentary.

 

Apart from fame or fortune

Found myself thinking about pastors laboring much of Saturday to craft a sermon heard by a congregation and then likely forgotten, something that was a more common occurrence when I was growing up and everybody went to church on Sundays, back when Blue Laws were in effect. It was “important” and discussed over the dinner table.

It also had me also thinking about long letters, back in the day, the kind that are more likely to get published as a book today.

So here we are in an era when going viral or having blockbuster sales or ratings is the goal of so many. What a contrast to work that’s done in loving detail for a limited audience. Not just that Sunday sermon. A passionate teacher within a classroom. A doctor, just one patient at a time. A concert performed for a few hundred people. (Perhaps after months of rehearsals.) A single piece of art, to be prized by a single collector.

It sets a different measure of success, along with self-worth.

Now add to that jobs done one-to-one, say caretaker in a seniors residential facility. Or even gardening, with only the universe as a witness.

These don’t reflect in economics reports or, when they do, they’re discounted as marginal. Not so, I’ll argue. Besides, how much does joy weigh?

Noah only had to take them two-by-two via an ark  

One of the struggles I had as a writer was in trying to keep abreast of the riches presented me in my wider world despite the upheavals of my professional life. Just as I would be getting centered into one landscape, I was yanked into another, as if being dropped into yet one more planet. The sources of inspiration kept changing faster than I could record them in any depth. It’s a wonder I didn’t drown.

Among the drafts I’ve uncovered in my journals review, the ones now available as free PDF downloads at my Thistle Finch digital bookstore, please consider these Chronicles: Buddha Notes, Endless Prairie, and Thunder Cloud.

Welcome to another Rabbit Hole on the Internet.

 

Mobility issues, mostly

Halloween (1977): 22 inches of new snow in Cayuse Pass, 4 in Snoqualmie Pass, two of our routes to Seattle … winter was already closing in.

The kid wrecked the Capri while trying to use the CB he had received for his birthday the night before. Had he been in the Triumph, he’d be dead.

From loose letters, carbon copy, Nov. 28, a now obsolete form of address: “Sirs:” Even “Sir” becomes questionable.

windy night
gusts to 55 mph
highway speed

not feeling well
as Kitty smelled on my breath

~*~

6 Nov, Wednesday, new car arrived today. Feels solid, runs beautifully.

Looking back, I’m surprised that we went with Subaru, at the time a new entry into the U.S. market. I draw a blank at trying to remember the process of signing all the papers or how I even picked up the car, considering that we (make that Kitty) decided we’d keep our VW Bug which had no trade-in value. 

That night, I surprised Kitty by driving up to E’Burg.. She loves the new car, its size and color. Took her to dinner.

Back at her apartment, a knock at the door. Two officers checking a strange odor in the hallway, fearing it might be more than rotting garbage. Inquiring about the neighbors. Any elderly? How long the smell? (A week.) Have you seen them recently? (Later she said her neighbor had been crying the day before. She almost offered her a ride to cheer her.) (Wait? In what?) On my drive home, I wondered: Did her neighbor kill the boyfriend she was kicking out? Is Kitty safe? She wouldn’t have answered the door if I weren’t there. Did the officer parked behind my car take down my license plate number? What was he radioing so long? They said a sheriff’s deputy reported the smell, but what was he doing in the building in the first place? Intrigue and foreboding, I presume …

Small-town cops, I’d say now, or perhaps federal ICE agents.

~*~

Mid-November

Snow flurries,
large flakes
briefly at noon

Nancy and Len’s visit all the way to our shack near Wapato, south of Yakima … [surprised to see they did that, though she had parents in the Seattle area … wish I had more!] Sleeping bags on our floor? She was a fine bubbly presence in our Indiana University endeavor.

Kitty’s been asked to place two of her sculptures in a Central [State University] show this spring — it’s by invitation only. Any reassurance she finds will quickly fade …

~*~

From Spiralbound Cascadia with commentary.

 

It has to be the story you’re drawn to

If you’re dreaming of writing a book, here’s some perspective.

  1. “Write what should not be forgotten.” — Isabel Allende
  2. “The story must strike a nerve in me. My heart should start pounding when I hear the first line in my head. I start trembling at the risk.” — Susan Sontag
  3. “Run your own race. Don’t worry about how fast someone else writes, how much another author makes, how many followers another author has. Write what makes you excited, and the enthusiasm will come through on the page.” — Christina Lauren
  4. “Find a subject you care about and which you in your heart feel others should care about. It is this genuine caring, not your games with language, which will be the most compelling and seductive element in your style.” — Stephen King
  5. “If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.” — Toni Morrison
  6. “You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children.” — Madeleine L’Engle
  7. “I always write in the morning. I was pleased to hear lately that Rousseau, too, after he got up in the morning, went for a short walk and sat down to work. In the morning one’s head is particularly fresh. The best thoughts most often come in the morning after waking while still in bed or during the walk.” — Leo Tolstoy
  8. “The author, in his work, must be like God in the Universe, present everywhere and visible nowhere.” — Gustave Flaubert
  9. “You can’t fake quality any more than you can fake a good meal.” — William S. Burroughs
  10. “I notice that you use plain, simple language, short words and brief sentences. That is the way to write English — it is the modern way and the best way. Stick to it; don’t let fluff and flowers and verbosity creep.” — Mark Twain

Some of them seem to think it has to be book-length. Short and sweet can be compelling, too.

 

Looking at the notebooks themselves, beyond their content

My journaling in college-style spiralbound notebooks would continue for another seven years before getting interspersed with hardbound sketchbooks. I wouldn’t move away from them altogether until mid-’87.

Some of the habit no doubt was reenforced by the fact the notebooks were cheap. Money was always tight for me. I also enjoyed picking them up casually in bookstores, especially in and around university campuses.

They’ve always been workbooks for me, something of the moment. Frankly, I never expected to live this long, and any posterity was intended for my published poems, fiction, histories, and essays.

Look at how some of mine opened in this period.

Vol. 49, 1 July 77 / day after the full moon: blue Western College Bookstore Association, 100 sheets, usual size

Vol. 43, Turns out to be the second a spiral-bound Strathmore Sketch 400 series, 9-by-12, 100 pp, fine arts paper. Cover in Cordoba Brown (First of three in series.) Entries in large, black, chancery-cursive script. Quite elegant.

Vol. 43, 1 Sept. 77, Orchard Shack. (Numbered out of order.)

 Vol. 42, 1:X:77 Orchard Shack. So this is really out of sequence! Covers just the month of October …

The first of my beloved longbooks was not from Cornell in ’71 ….

Now they morph into long unruled sketchbooks … or so but rather a spiral-bound Strathmore Sketch 400 series, 9-by-12, 100 pp, fine arts paper. Cover in Cordoba Brown (First of three in series.) Entries in large, black, chancery-cursive script. Quite elegant.

Vol. 44, 1 Nov. 77, Orchard Shack, the third of the Strathmore sketchbooks

Observing seasons
in one place

Note the impact on Hometown News, Nearly Canaan, and Secret Side of Jaya. Also the poetry, especially American Olympus …

Each journal volume somehow opens anew, yet usually fades off at the end.

~*~

I wonder how others approach the practice. I’ve heard of using loose-leaf pages and binders, to facilitate reordering of pages. An alternative is to have several volumes at a time, each devoted to a different subject.

Use of writing instruments can also be considered. Ballpoint pens gave way to felt-tips, for instance, and much later fountain pens. As for journaling exclusively on a laptop or smart phone? The plot thickens …

~*~

From Spiralbound Cascadia with commentary.

 

Have you ever got stuck playing with rubber stamps?

My hand these days may not be as reliable for sketching or painting as it once was, but my eyes are still alert. In our downsizing on our remote island in Maine, as I chanced upon our collected rubber stamps and inks, I started playing. Add to that some related artistry.

Do take a look for the results at my free digital bookstore, Thistle Finch editions.

The albums are Inked. Stamped, Pressed, Visual Twists, and Shore Things (collages arising from beachcombing findings).

You might even what to download and print some of the images. I humbly think they’re great.