You never know what we'll churn up in cleaning a stall
The mythologies of Greece are easily countered by those of India, China, Tibet, and Japan in the Native tales of the Olympic Peninsula and the coastal tribes of the Pacific Northwest.
Sit down by the fire, then, and listen. Some of the voices are millennia old.
~*~
For a free copy of the complete American Olympus, click here.
As I said at the time …
It’s a quirky process, this exercise of seeking homes for personal work – the reactions of editors and readers so idiosyncratic and varied that the same piece can be considered too intense, by one, and not raw and bloody enough, by another. I can never predict who will accept what, no matter how long I’ve known a publisher or journal.
Contributor’s note? Just say I hope soon to be tent camping again.
The Olympic Peninsula of Washington State is a world of its own. About the size of Delaware, it has few settlements apart from its Native American tribes. Its remote coastline is gorgeous. Its forests are thick and varied and receive some of the heaviest annual rainfall in North America. Its central mountains include hot springs and glaciers. There’s a U.S. Navy base on the eastern edge along with an artist colony and ferry connections to Seattle.
Listen closely and the underlying mythologies shape a new understanding.
Here is a place where East meets West in its own nature.
~*~
For a free copy of the complete American Olympus, click here.
The conditions that created the desert where we lived created what was sometimes called a “rain shadow.” It was ironic, actually, considering that we got far more sunlight by living on that side of the Cascade Mountains than if we’d been in, what, the rain glow?
Sometimes, though, it seemed to dry up all of our emotions, too.
A journey into the murky places of endless fog, mist, and rain, in contrast, could do wonders in the soul.
~*~
For a free copy of the complete American Olympus, click here.
A central question facing compositional artists of all stripes (in contrast to performing artists like actors, dancers, and musicians) is the matter of determining when a work’s finished.
How do you know?
Is just out-and-out satisfaction a measure? A trusty one? Hmm.
Let me suggest some others.
Sometimes it’s a sense that you just can’t go any further with it. And if it’s in a state beyond notes and fragments, maybe that’s it. You’ve hit a wall, a property line, or just the shore or riverbank. So you stop. Period.
There are times, admittedly, when you think something’s finished and put it aside only to find, on returning, it needs more – revision, for starters, and maybe additions and major restructuring. (A friend spoke the other evening of drafting a memoir in the third-person and then redoing it in the first-person, the kind of change I’ve done in some of my fiction. And Brahms had an early symphony that became a piano concerto, if I recall right.)
Working under a deadline can simplify matters. Time’s up! Next!
Nice, if you happen to have an advance or pipeline of delivery or the concert’s coming up.
Novelists might even find doneness appears as the time they find their focus obsessing with the book under the one they’ve been tackling.
Some poets will say that once it’s published, they can let go of it. Finito!
~*~
In the bigger picture, the “finished” question isn’t just about having a manuscript ready. For a writer, it’s ultimately about landing the work in a reader’s hands. A place where a dialogue can begin. And getting that manuscript from a polished draft into circulation can be a huge, energy-depleting limbo, especially if your life is filled with competing claims on your time.
In short, you can either focus on seeing that one work through to publication – or you can create the next one, while the inspiration’s still hot. For me, as I tried to balance my writing life with a journalism career, personal relationships, spiritual practice, and so on, I wound up with a huge backlog of finished material. At least I’d wisely not put off the writing for retirement, as had a number of colleagues I’d known – none of them ever managed to fulfill that dream.
What I did find, though, was that the unpublished work became a burden of its own. Its emotional weight inhibited new work. Why bother? It even had a way of twisting my sense of identity – who was I then and who am I now? Think, too, of the relationships that fed into one work – and the people I’m with today. As in lover or spouse.
So the experience of having my book-length works finally being published brings the “finished” consideration across yet another threshold – the matter of being liberated. I can let go of trying to hold that memory, treasuring that epiphany, honoring that friendship.
Should I have just trashed them long ago and moved on into other, non-literary endeavors? Just think of the hours that could have been directed instead to overtime pay, which would make my retirement more secure. Or travel or …
Maybe it’s just a case of hoping for acknowledgement. Hey, here I am!
Still, it’s what I’ve done.
What I have is a feeling of being true to a responsibility carried to its completion at last. What happens from here is, well, liberating any way it goes.
In blogging here, I’ve generally tried to steer clear of current events, as in political and economic news. Even my reflections on the weather have been, I hope, along a larger or more timeless horizon than mere day-to-day changes. Think of watching the grass grow.
But I do live in New Hampshire, and the campaigns for the November 8, 2016, presidential election are already generating daily front-page headlines here. Remember, that’s nearly a year-and-a-half away.
The primary is tentatively set for February 9, but that could move up, depending. We hate when it clashes with Christmas.
The point is, politics is already crackling in our air. How can I possibly avoid it?
As I said at the time …
You’re home once more, with many fresh laurels, I hope. On my end, the computer’s fixed and I’m dancing with some frequency again. At least between some heavy allergies. (Birch pollen at the moment; pine comes soon.)
I’m still in shock from Sam Hamill’s “To Eron on Her Thirty-Second Birthday” – she’s always a twelve-year-old tomboy in my memory! Impossible, it seems. And that was back when I was still married and my wife studied painting under John Bennett’s wife, Ellensburg, Washington … back in his Vagabond days. Small world. Am still trying to figure out when and where I heard Bill Stafford read. Yakima Valley College, I believe. Will the parts of my life ever come together?
Yes, you certainly are a moon-child, with all of the sign’s gentle humanity. Violet, a variant of purple, the cancer-sign’s color. Star, like the moon, of the moody night. Well-named, it seems! For whatever reason, more of my serious relationships have been with women born under the sign of Cancer than with any other; in fact, there have been no Gemini or Libra, which are supposed to be a natural fit for me. Go figure!
~*~
My, what ancient history this, too, has become!
Now that winter’s over, some of us are finding difficulty in trying to shift gears. Yes, the snow’s finally melted, but that’s not how I feel.
I suppose officially I’ve been enduring a mild depression, though for me that means mostly emotional numbness along with some simmering anger. Call it the blahs. No need to go into details here, other than to admit there were a few complicating elements of chronic negativity in the air.
What does matter is the feeling of being stuck. Molasses. Even impoverished, no matter the reality.
Where’s the joy, the sunlight, the ongoing pleasure?
There have been small steps. The daily indoor swimming, for one. Yes, it’s still a daily effort but also an emerging sense of accomplishment and meeting some goals. I’ve also been growing my hair out, which is going much slower than the first time around – don’t know if I’ll keep it this way, either, just wanted to revisit that side of my hippie past. Still, the seemingly terminal winter chilled much of my desire to play with my Christmas-gift camera, even if I did get some shots I’ll likely post next winter. (I just didn’t want to put any more snow and ice up on the Web. It was getting tedious.) And there’s been some overdue reading, including a bout of Philip Roth, pro and con.
The question, on this merry-go-round? Well, a cluster of questions, actually.
What’s really at the center? Where’s my core energy? What do I have to offer to others? To the world? How do I become a better person, more open to others? More compassionate, especially? In other words, how do I more fully engage the spiritual life before me?
Time to turn some soil, transplant sprouts, plant some seeds. Ideally, helping others – or sharing companionship in the process.
In other words, here we go ’round again.
Got a rejection letter last week. All authors, and especially poets, are used to them. What was striking for me was that I hadn’t sent off any hard-copy submissions in the last three years. Repeat, THREE years.
As I’ve explained, a while ago I shifted over to online-only submissions as a consequence of much higher acceptances that way and of simplifying the difficulties of trying to maintain duplicate sets of files. (One for online, and a duplicate for hardcopy.)
So it took the editors of this particular journal more than three years to decide? What’s their problem? No wonder they’re feeling swamped!
This also touches on the issue of exclusivity in sending out work for publication. In the old days, meaning when I started, you didn’t dare send your work simultaneously to different periodicals. It was more a kind of serial monogamy. Or serious business.
Although the hard-and-fast requirement started melting, I stayed with exclusivity more as a matter of keeping track of what was out where – but I did keep an unmentioned caveat: after six months, if I’d heard nothing, it was fair game to send out again. In more than a thousand acceptances, I don’t recall more than a half-dozen cases where this became a problem.
Suppose I could look up the five poems to see if they’ve been published elsewhere in the interim, but frankly it’s not worth it.
You might have even seen them here, at the Barn.
Every writer, we can presume, has plans for the next work – or several. Tackling them, of course, can be another matter altogether, especially if the schedule’s already full, even before we get to the overdue house and garden projects. Or some equivalent.
Listen to other writers, by the way, and you’ll hear just how much of that schedule now focuses on marketing, including social media, to push already published work instead of doing the, well, not exactly “fun” part (it is, after all, work) but the passionate core that prompts the entire enterprise: drafting and revising. The very thing that makes us writers.
For me, much of that has also involved moving four decades of serious writing, however experimental, into the public access where adventurous readers might find the volumes. Places like Smashwords.com and my Thistle/Flinch site here at WordPress. To be candid, the backlog was inhibiting my ability to forge ahead on new work – not exactly writer’s bloc, but something more like claustrophobia? Having the remaining novels in the pipeline for ebook publication is a huge relief.
Let me repeat, though, about the necessity of marketing and how that should be the focus.
What’s taken root over the past several months, though, is another novel. One that just might pull my Hippie Trails series together a half-century later. That is, something that covers far more than just ’60s and ’70s. Am I crazy?
Well, maybe. What’s shaping up is far different from anything I’ve previously undertaken.
For one thing, I’m starting with an overarching structure – something approaching an outline, rather than my usual setting forth on a journey to see where an image or character or idea will lead. And then there’s little autobiographical here; it’s largely new territory, apart from tying up some loose ends from the earlier novels. The dictum, “Write about what you know,” gets readjusted to “Write about what you would like to know,” meaning more about certain ethnic groups I’ve encountered, businesses I’ve brushed up against, spiritual practices, histories, desires, losses. I’m even beginning with a commercial genre in mind, which means drafting from a perspective and in a voice far from my own.
I’m not sure this is a work I’ll actually finish. It may be too difficult. Or it may become more of a collaboration, perhaps with a circle of beta readers set at liberty to edit at will. (Have I ever written of my theory that what we know as Shakespeare was the product of a circle of very talented improvisers, whose inventions were recorded by the playwright? Almost a committee, if you will, except for his imprint on the final version.)
Different from anything else I’ve done to date? How about needing to finish a draft of the last chapter, along with a stretch of the opening, before writing anything else? Or heading off with 80 or so pages of notes for the middle, plus questions to pursue? It’s certainly driven by the characters and events that turn in directions I’d normally avoid.
What I do know from experience is how crucial it is to sit down at the keyboard when these juices are flowing.
Jnana's Red Barn 