Break A Leg

Winter                                                                       Cold Moon

Going to meet Lonnie Helgeson this morning for her critique of the 1st draft of Missing.  I’m a little nervous, performance anxiety mainly.  My baby has exposure to the world now and I want it well received.  But whatever her analysis, I’ve got five others coming, too.  After this feedback, I’ll head back into Missing for a second draft.  See where that gets me.

I’m very appreciative of everyone who’ve read Missing.  Kate read the rough draft and helped me get to the 1st draft.  She’s now read it again and I have her remarks already in writing.

Not sure quite how to proceed so I’m waiting to collect as many as I can before I review them all and get set for another (third) rewrite.

 

Caution: Rant about the teaching of literature

Winter                                                                 Cold Moon

“[A]ll methods of literary interpretation — Marxist, feminist, structuralist, and so on — depend upon the making of a distinction between surface and depth, between what is seen in the text and some underlying meaning.

— Peter Barry, “Postmodernism,” Beginning Theory: An Introduction to Literary and Cultural Theory

As a sophomore I took a required introductory literature class.  I’d always read a lot, having completed many of the classics before my freshman year of college; so, I wanted to see how a college level look at literature worked.  To orient us to time and place I should note that this is the fall of 1966, the place, Ball State University in Muncie, Indiana.  Since my freshman year had been at the all male Wabash College, Ball State with its thousands of students (Wabash had 800) and coeds (remember that quaint yesterday term?) was a new experience for me.

I don’t remember the professors name, but I can see him, a short balding man with a non-descript face, a bit fleshy.  A suit wearer.  Cheap suits.  Do you see where this is going?  He said he disciplined himself by reading Time cover-to-cover each week.

The particular books we read I don’t recall now.  What I do recall is this professor telling me what the books meant.  Huh?  I always thought that was a contract between writer and reader.  A matter of creator and a mind willing to encounter the creator’s work in a receptive way.  As to what things meant.  Well.

This was a time, gentle reader, a time before theory, a time in the ancient days of yore when books were books and a time when readers did not receive texts; we just read them. Of, course there were various schools of literary interpretation, but they had little impact on the average reader.  And even if a careful application of prevailing theory revealed ideas about a text, that was all they were.  Just ideas.

Not holy writ.  But this guy, this professor and his Time magazine reading discipline claimed to know what the author meant.  And, worse, what I should understand from having read a text.  This violated my joy in reading so much that I abandoned, in that class, ever taking another college class in literature; based on the premise that I would continue to read and continue to interpret books as they impacted me, not as some poor schlub in a cheap suit said I should.

Of course, I over reacted.  Goes without saying.  But, I kept reading.  I kept learning things, important things, from books.  I don’t regret the decision.  At all.

So, I continue to read today, blithely ignoring what others say works mean, and taking my own sustenance from them.  Wrestled out with what tools I’ve cobbled together from years of enjoying the written word.

Would I have learned a lot in English classrooms?  Sure, I would have.  Not every professor could have his head stuck so determinedly in the sand as this guy.  It’s just not possible, is it?

OK.  Just wanted to get that off my chest.  Thanks for listening.

 

The American Geist

Winter                                                                       Cold Moon

A long time ago, high school, maybe junior high, I decided that the way to get to know a people or a place was to read their literature.  Of course, reading their literature and being in the place for some time is optimal.

When I moved to Minnesota, for example, I read Sinclair Lewis and Ole Rolvaag and F.S. Scott Fitzgerald and Vilhelm Moberg.  Gave me a good grounding in the ethos, the thought world behind Minnesota.  Now, were I to do it today I might add Keillor, Erdrich, some of the many mystery writers, but you get the idea.

Here’s the point of this.  How much earlier American literature have you read?  I mean, how well do you know us through the minds of our first novelists and story tellers.  Say, Washington Irving.  Nathaniel Hawthorne.  Melville.  or,  Edgar Allen Poe.  If you have read them, are you like me and that reading is far in the past?  I’m going to start re-reading these guys over the next months.  Getting back in touch with our thought world.

 

For Kate

Winter                                                                        Cold Moon

Would never have thought to say it this way, but it’s true.  

 

when I met you,
flowers started growing
in the darkest parts of my mind

Ahhrghh!

Winter                                                                    Cold Moon

Six month sabbatical begins, work week-wise, today.  My first task?  Organize, reshelve, move.  Books, magazines, file folders, objet d’arts.  Gonna slim down the book count in the study to books that support writing, Latin, art.  Poetry, too.

After it’s organized–again–I plan a strict policy.  One book in.  One book out.  Better filing formats, too, and more prompt filing.  Not because it makes me a better person, but because it reduces hassle.

Cleaning like this always puts me in a down mood.  Why did I let it get like this?  Why can’t I clean it on a regular basis?  I know the answer.  I get focused on one task and pulling books from the shelf, files and folders out to consult is part of that.  Putting them back right away isn’t.  I’m working on the task.  Forward, not backward.

Still, finishing always puts me in a better mood, so I’ll finish.  This week if not tomorrow.

 

Grandpop’s Story Time

Winter                                                                               Cold Moon

At lunch on Friday Allison reminded me of a long ago passion:  theatre.  I got started with the role of the Stage Manager in Our Town, a high school production.  After that I acted and danced (yes, really!) through college and seminary.   I’ve not done anything with it since then because theatre work demands so much time.

But.  Allison suggested spoken word performance.  I’d not thought of it in years.  Still, as the idea turned over and over, I hit on something I would enjoy.  And here’s the first one.

Living in Season

Winter                                                               Cold Moon

Winter is upon us.  Beginning to give more thought time to my Living in Season presentation for Groveland on the 27th.  The short version is this:  learning to adapt your life to the season, rather than the seasons to your life.  I mean this on at least two levels: the literal and the metaphorical.

(A seasonal round.  This is a new idea to me, but I like it a lot.)

The literal can include such things as caring for plants outside during the growing season.  Maybe in a container, a window box.  Maybe in a flower bed or a vegetable garden.  Could be an orchard or a woods.  Maybe a community garden.  Something to synch up at least part of your daily life with the emergence of plants from winter’s fallow time.

It can also include intentionally leaving time in your winter schedule for retreats, inside projects like crafts or writing or visiting friends.

Perhaps in all the seasons hiking might be part of your plan, a liturgical response similar in all seasons but changed by them in profound ways.  If you can’t hike, get someone to help you be outside some amount of time each week.  Yes, even in the dreaded middle weeks of January.

Metaphorical:  first, know which season of your life you are in.  Are you college age, in the still vigorous growth years?  Or, are you in the mature years, the years of the late growing season, the early harvest days?  Or, like me, are you in the days of the late harvest, headed toward the long, eternal fallow time?

Here, too, we can find analogical help from living in season.  When sun and rain and warm temperatures push a plant up, up, up, perhaps that time right around flowering, then it must attend as well to its roots, not forgetting the stabilizing and nutrient gathering powers of those underneath surface parts.  So, for example, when college and the world of work begins to beckon, as graduation nears and your own unique bloom begins to present itself to the universe at large, this may be a time to recall hometown, old friends, family.  Favorite hobbies and pets and places.  It may seem that these people and places hold you back, hold you down, are heavy anchors weighted to yesterday.  But, no.  Instead these are the anchors in the deep subsoil of your life that hold you up, feed those parts of you that remember the child you once were, remind you of the long strengths that balance the new, shiny ones obtained through education.

Anyhow, stuff like that.  More by the 27th.

The Old Ways

Winter                                                                     New (Cold) Moon

Ancientrails.  A name happened on by accident, now 8 years ago.  Still, it stuck and its meaning seems to grow.  Dug deeper into my psyche as those years have gone by.

Recently discovered a book, The Old Ways, by Robert Macfarlane.  Here’s a bit from a book review in the Guardian:

“…this is the story of many journeys. Fifteen of them are made by Macfarlane himself, along paths in the British Isles and, further afield, in Spain, Palestine and Tibet. He invokes, as he goes, hundreds of previous walkers, and hundreds of pathways – across silt, sand, granite, water, snow – each with its different rhythms and secrets. So the book is a tribute to the variety and complexity of the “old ways” that are often now forgotten as we go past in the car, but which were marked out by the footfall of generations. And it is an affirmation of their connectedness as part of a great network linking ways and wayfarers of every sort.”

In a word, yes.  Yes.  These are ancientrails.  In this case actual trails and paths, but ones that encompass in their reality the more archetypal meaning I have when I use the term here.  Just as there hundreds of pathways across all manner of surface there are even more pathways of the heart, the mind, the genetic paths, the orbits of planets and the movement of stars and galaxies.

Then, yesterday while at lunch with Allison she mentioned, again, Emily Johnson, one of the videoed artists whose life size figures graced the Thaw exhibit at the MIA a couple of years ago.  Allison had become a disciple of sorts, going to a three-day workshop, making a fish skin lantern and even dancing within one of Emily’s pieces last year.  Allison’s fish skin lantern is now on stage with Emily at the Baryshnikov Ballet.  Allison thought of ancientrails in relation to Emily’s work.

Here’s why from a recent NYT piece:

“Structurally Ms. Johnson sees her new “Niicugni” (nee-CHOOG-nee) as encompassing “The Thank-you Bar.” Within an installation of 51 handmade fish-skin lanterns, created by Ms. Johnson and participants from workshops held in conjunction with residencies around the country, the work explores ideas about how a place, including a body, can tie everything and everyone together. It focuses on the wholeness of land, rather than its territorial borders.

“I know what it feels like to walk on the land I grew up on,” she said. “It’s very spongy. The trees and the ground smell earthy and piney. I’m really interested in not forgetting that there’s ground underneath this floor, and that we are all connected, via land, via ground, even in the sense that the ground is made of the remains of all creatures that have ever existed, including our ancestors.”

In “Niicugni” Ms. Johnson performs intricate duets with the dancer Aretha Aoki; some of the choreography is rooted in improvisations that required them to imagine they were dancing on earth. Part of the inspiration for the piece came from a picture of a mountain. “You see a huge physical structure that seems so permanent and so still, but then you can see where there was maybe a rock slide,” Ms. Johnson said. “You can see the precariousness of it. The contradiction between presence and movement is a possibility at every moment.””

Leaving

Winter                                                                  New (Cold) Moon

And so.  Had lunch with Allison at the Walker.  “Elvis has left the building,” she said when we met.  Today at 1 pm I said good-bye to Jennifer and Paula, turned in my badge to the guard, picked up my coat, the attendant found it before I put my number on the counter, that’s how much I’ve been there of late, walked out the door and left the museum behind.

Not forever.  Just till July 1st.  But it felt like a definite parting, an end of something and the beginning of another.

It was time, too.  I found myself impatient with kids on my first tour, 9 year olds, half of whom flocked to benches to sit down while the tour moved around them.  I was short.  Not helpful, but my toleration level for young indifference had reached a peak.  Time for  a rest.

When I saw Allison, we talked about the MIA, about touring, about her absence.  She mentioned that no one made any to do about Tom Byfield, who resigned last week.  Folks leave and neither the docent corps or the museum acknowledges the time and love they’ve put in over the years.  Often, many years.

Something to consider.

We also walked through the Cindy Sherman show.  Allison made an interesting point.  “Who is Cindy Sherman?  I mean, she’s about our age.  Has she had work done?  What’s she really like?”  A Walker guard said she’s unremarkable in person.  58.  It’s an interesting question.  As a sort of performance artist, wondering who she is raises questions of the nature of reality and the ability of artists to manipulate it.

After lunch, I drove home through the mist and grunge off the highway kicked up a filthy spray onto the windshield.  In January.  In Minnesota.  Guess we gotta get used to it or move.

And of these three…

Winter                                                                          New (Cold) Moon

Still parsing the change that happened over the last year or so.  It may have something to do with Kate’s retirement.  Allina and medicine as practiced there made her so unhappy.  With that out of her life she’s a different woman.  That may have had more effect on me than I imagined.  Perhaps relieved in me some of the emotional carrying charge I had as spouse.  Not sure.  Just speculative.

It may also have been the soul clarifying advance into life past 65; life lived with an existential awareness of death, rather than an abstract one.  Thinking about the third phase and its opportunities did lead to understanding what I wanted to do.  What only I could do.  And the necessity of putting myself behind those efforts as much as I can.

As that picture has become more filled in, I find myself focusing on three things:  writing, art, Latin.  That’s not to say that the garden, the bees, reimagining faith won’t get any effort from me.  They will.  But the good time, the time when I work best now belongs to those three.  It also means that I’m going to shun picking up any other responsibilities in the near and medium-term future.

And of those three, writing is the focus:  completing the Tailte trilogy, reworking the five other novels I’ve written, polishing some short stories and getting further in three novels I’ve got well started but left hanging.  If things go well with the Tailte trilogy, I have more books in that world.  It’s a rich vein.

Getting older.  Getting clearer.  Getting more determined.  That seems to be the direction.