On Reading

I think a lot about reading–and not just my reading, but reading in general and how fascinating and miraculous an activity it is. I think about how reading (and writing, of course) has been used to transmit ideas from one generation to another, encompassing thousands of years. In fact, on my spacier days, I’ve even considered writing/reading a kind of alternate existence. Certainly it’s common to think of reading as a way of time travel, or as a way of living a life completely different from one’s own, but this isn’t quite what I mean by “alternate existence.” I’m talking about writing/reading as an actual different life form.

Bear with me, because this view requires some athletic imaginative leaps, but I think it’s worth it, if only to defamiliarize ourselves with writing/reading as an everyday function and look at it in a new light. To make my view clear, I need to start with a crazy premise: writing is a life form in and of itself. Think of it like this: you’re in a Star Trek Universe, and you’ve met another life form that you can’t see or touch, but you know it’s there. You can see its effects on the physical environment. So naturally, you have to expand your notion of what a life form is in order to identify and describe this one.

Now that I’ve prepared the way, let me make my argument for writing as an alternative life form. When human beings began to write their thoughts and stories down, they took the first step towards creating a different form of life, one made of the intersection of thought and the squiggly lines we call writing, grafted onto paper in a process similar to how lichens occurred: a fungus and an alga got together and, through symbiosis, united to create a new, independent life form that has characteristics of both its predecessors. How is writing like that? Take human ideas and stories, graft them onto the remnants of trees, and you get something that didn’t exist before: books. And these books, as we all know, go on to have lives of their own. They influence human events long after their initial publication dates; they take on a kind of incorporeal existence that despite its lack of physical substance, nevertheless exerts an effect not only on individual people, but on whole cultures. In a science fiction-type way, these creations could be seen as having some kind of life, although of course we’d have to define life differently to get there.

I’m not really arguing this, although I confess I do think it’s fascinating to delve into this way of looking at books and writing. I’m simply suggesting it as a thought experiment to help us see reading/writing as the kind of miracle it really is. For one thing, all the forms of long distance and long term communications we enjoy today are derivatives of this writing/reading model. This electronic blog you’re reading right now comes directly from papyrus sheets and Gutenberg. That TikTok video you watched and laughed at on Instagram this morning? Though admittedly transformed, it’s also the honest descendant of the first books compiled by Greeks, Romans, Babylonians. In fact, I would argue that human existence probably remained pretty static, with minimal changes from generation to generation, until the advent and spread of reading and writing, which allowed communication unfettered by place and time, and this in turn allowed men and women to improve upon the ideas and practices of the past, giving rise to steady change until we got to where we are today.

So why is this important? As I said, I think it’s an interesting thought experiment, but it’s more than that. When we talk about writing and reading these days, we tend to think about the publishing world: what’s getting published, what’s been published, who’s reading what, who’s writing what. The emphasis seems to be on the book, not the reader. I’d like more people to take the opportunity to look at the act of reading to see what a miracle it is, and by extension, how we can refine our reading skills to become better, more thoughtful readers. C.S. Lewis (who I’d argue is horribly undersold as the author of the Narnia series and low-grade Christian propaganda) suggested in a little book called An Experiment in Criticism that we divide readers into two categories: “Users” and “Consumers.” A user, if I remember correctly, is a reader who thoughtfully reads a book and considers it seriously. A consumer simply reads a book and sets it aside. It is the most common thing in the world for a user to re-read a book not once but several time, whereas a consumer will not re-read a book unless s/he has forgotten the plot. Users make use of their reading; consumers use their reading as mere escapism.

I don’t mean to bash reading as escapism; it has its time and its place and can be very useful, even healing. I’d rather focus instead on making all readers capable of both kinds of reading. In short, I’d argue for teaching reading not as it is taught now, as a basic skill required of all citizens, but rather as a higher level thinking skill, one which demands interaction with the text.

And here we return to the idea of the act of reading as a special miracle, one which somehow unites written thoughts from previous ages and long-dead writers, from disparate places and situations, with a reader who is enriched by experiencing different points of view, different ideas, and, to be succinct, completely different existences. Think of it this way: last week I read a book by Georges Simenon, a detective novel featuring Inspector Maigret, in French. I am not bilingual, not even fluent in French, although it’s true that I majored in it in college (about forty years ago!). But I could make my way through the novel and follow the plot for the most part. The situations and characters were conveyed to me in a language completely foreign from my own. That, I think, qualifies as a kind of miracle. When we read works in their original languages, when we slow down to enter the world of the text, whether it’s Beowulf or Candide, we engage with the text in a way that simply takes us out of our world into a completely different one. And when we return to our own world, we see with different eyes, think with a different mind. It is reading that makes this possible, since it provides us with a gift that for much of human existence has been absolutely unthinkable: the gift of transcending our own private existence.

Can we expect to make the most of such a gift with just the basic tools of reading? Shouldn’t we work harder to deserve this gift and enjoy it in all its glory?

Ah–but the question is how to do this. I have no doubt that if we start thinking about this and addressing it, we will come up with many different answers, some of which I hope to consider in future blogs. Until then, we can always improve with practice!

Happy Reading!

More Thoughts on Poetry

I have had a breakthrough in my thoughts on the nature of poetry. To recap, in the last episode of this blog, I stated that over the past twenty years or so, I had somehow decided that unless I really knew what poetry was, I had no business writing it. Despite having taught more poetry than you can shake a spear at, I didn’t feel I could actually define poetry. It couldn’t be just the use of creative language, because that’s used in the best prose; nor could I say it was in the idea of moving the reader to feel a specific emotion, because that’s the motivation behind all different kinds of prose, too. What was left was simply the form of poetry, which meant that a poem is a poem because the person who created it says it’s a poem and delineates its appearance, using line breaks and stanzas, in such a way to suggest that it is a poem.

That’s fair, of course, but not very satisfying. So I came up with the idea of busting apart the entire idea of genre, and asking if it really matters what we call a piece of writing. Whether it’s prose or poetry, if we feel moved by it, if it elicits a vivid picture or sensation or thought, then it’s good writing. But something in me was left unsatisfied, and so I did what I always do when I have a tricky little intellectual problem: I simply tried to forget about it.

But a few days ago I had an idea about the motivation behind writing poetry. Perhaps, I postulated, that’s what really differentiates a poem from a prose piece: the writer’s motivation. By chance, I was helped along in this line of thinking–about the whole idea of why we write and read poems–from, of all things, a very fine science writer named Ed Yong.

You might remember Yong from his insightful articles on the Covid-19 pandemic, which were published in the Atlantic. I knew Yong to be an excellent writer, so when I saw his book An Immense World: How Animal Senses Reveal the Hidden Realms around Us (2022), I picked it up and read it.

But how does a book on natural science relate to poetry? Bear with me a few minutes and I’ll explain.

Yong’s book is all about the way in which animals’ perceptions are different, sometimes starkly, from our own. It’s also about how human beings have misunderstood and misrepresented the way animals perceive things for millennia because we’re so immured in our own self-contained perceptive world. In other words, by thinking of animals in purely human terms, we limit our view of them.We also limit our view of the world itself. What we perceive, Yong argues throughout the book, determines in large part what we think and how we feel–and, most important of all for my point here, how we process the world we live in.

Yong uses the term “Umwelt” throughout the book to refer to an animal’s perceptual world, a term that means “environment” in German but has taken on a new flavor thanks to the scientist Jakob von Uexküll, who first used the word in 1909 in this specific sense. A dog’s “umwelt,” then, reflects the way it perceives the world, a world in which different colors are highlighted, scents linger in the air long after their source has moved away, and so on.

So how does this all relate to poetry and why we read and write it? Simply this: I propose that a poem’s primary task is to present an Umwelt for its reader. To do this, the poet creates a piece of writing that closely reflects (if she is lucky) the way she sees the world and presents it to the reader as a gift. If the reader accepts the gift, his reward for reading the poem attentively is being able to glimpse the world afresh through an Umwelt that is different from his own. In other words, the reader gets to see the world, or at least a piece of it, through a different perceptual grid, an experience that can be entertaining, sometimes unsettling, often thought-provoking, and, at its best, revelatory.

Is this different from prose? Perhaps not too much, but I’d argue that the very choice to write a poem instead of an essay, short story, or novel indicates something–I’d say something vitally important– about the writer’s Umwelt. The other forms of writing have messages they want to relay. The poem, however, exists simply to allow its reader to step into its author’s Umwelt for a few moments in order to experience the world differently.

So there you have it. For me, at least for now, discovering why we write poems has given me a new understanding and appreciation of poetry. It means I don’t have to decide whether I like or dislike a poem, nor do I have to justify my reaction to it. Poetry simply is; there’s no more point in arguing whether a poem is good or bad than there is in arguing with my dog Flossie whether her way of experiencing the forest we walk through every morning is better than mine, or whether mine is better than hers. If I got the chance to experience the world through her senses, you can bet I’d take it. Curiosity alone would drive me to it.

At the most basic level, then, I write poetry to demonstrate how I experience the world. I read poetry to discover how other people experience the world. In the end, we read and write poetry to bridge the gap between ourselves and others. It’s about sharing our Umwelten, which, in the end, means it’s all about breaking out of our own little self-contained worlds and joining together to form a bigger, better sense of the world we live in.

Some Thoughts on Writing Poetry

Photo of Northern Michigan Woods in springtime, taken by
Dan Shumway

As I wrote in my last blog, during most of the month of April (National Poetry Month, as declared by the Academy of American Poets in 1996) I took part in a local poetry workshop. Somewhat dubious as to the outcome of my immersion in the discipline after a twenty-some year sabbatical, I had hoped only for a kind of jumpstart to my creativity, a willingness to engage in writing in a purely creative mode after many years of prosaic endeavors–by which I mean writing in prose. My writing in this blog is largely critical, relying on some degree of brain power to make connections and arguments; to a certain degree, this is the kind of writing I feel most comfortable engaging in, which is, I suppose, why I keep doing it.

But lately I’ve felt the call to be more expressive, more creative in my writing. And I suppose I should admit that that call also beckons me to be more personal as well. Yet I was stymied. After a score of years in which I wrote largely essays (of the critical or academic flavor) or comments on student papers, or–when I felt daring–novels, I found that I was very much out of practice at the task of writing poems.

Because, whatever else people say about poetry, writing it is a task. It takes some discipline as well as creativity. We can’t all be John Milton, who said that the lines of Paradise Lost came to him in the night during his dreams, fully formed and ready to be set down. I have always understood and accepted the discipline of poetry–that part of the craft made sense to me. But over the past few years, the inspiration for poetry seems to have fled from me.

And yet that’s not quite true, either. I realize now that the inspiration was there all the time. Yet I set these poetic ideas aside in order to concentrate on the prose. The reason, I told myself, went something like this: I don’t fully understand what makes a poem work, so I’d better not delve into the art until I had a better grasp of how it works. And once I began to think that way, it wasn’t long before I lost every bit of confidence I ever had in my ability to write a poem.

But I’ve had a change of heart and a change of perspective.

Something drove me to sign up for that course, and once in it, I became the pesky student who asked too many questions. But my fellow students didn’t seem to mind; in fact, they welcomed my sometimes obnoxious comments. More than that, they showed me that that virtually no one really knows what makes a good poem work. So there went one problem out the window–I was down one excuse for not writing the poems that I felt strangely called upon to write.

This morning, five days after the workshop has ended, I realized that there was always another reason I had felt incapable of writing poetry again. It’s a little complicated, and somewhat personal, so I hope the few readers I have will allow this indulgence; I think it’s important to articulate my thought process so I’ll remember it in the future, and this blog is as good a place as any to set down my analysis.

When one retires and looks back on one’s work, it’s easy to see it for what it is: pretty much unremarkable. The few things I’ve written that have been published are largely forgotten (probably deservedly so); those that are unpublished are floating around somewhere, unloved and unread. That seemed to me to be a kind of cosmic rejection of my literary endeavors, and consequently I felt I didn’t have any right to try my hand at poetry again, since it would be a waste of time.

Now, to be fair and honest, I’ve not really tried all that hard to get published. In these pages, you’ll find several posts in which I declaim that publishing is possibly the enemy of a writer. (I still believe that can be the case.) Yet while saying that publication should not be the goal of a writer, I think a part of me still believed it should be, and that the test of a decent writer was whether or not she’d been published.

I know I will be wrestling with this question for the foreseeable future, but that’s not the point here. This silly argument had the effect of feeling that I somehow didn’t have the right to write poetry, since I didn’t intend to work to get it published. It’s a ridiculous argument, made more so by the fact that my life as a professor was spent convincing people that they had both the right and the duty to raise their voices, whether as public speakers or writers. In my dissertation, which was on the representation of female insanity in Victorian novels, I argued that insane women (in life and in art) were all too often shut away and shut up because what they said was too uncomfortable to hear.

The irony is glaring. Silly me: I had become my own warden, censor, caretaker–whatever you want to call it. I shut myself up here on my farm and declined to raise my voice. Rather than Bertha Mason Rochester, whose words were incoherent to Jane Eyre but nonetheless shouted aloud, I became Bartleby the Scrivener, Melville’s antihero who responded to all prompts by saying, “I would prefer not to.” I refused to allow myself the pleasure of wrestling with words purely because I was worried about them not being accepted or understood, despite the fact that I knew–or should have known–better.

This is a powerful realization. And I owe it to the people in my workshop, who as I said above, put up with my questions, my doubts, my outbursts, and, more than that, who encouraged me to find my voice again. I am incredibly grateful to them for their help and their support. (I also had a good friend who did me the favor of reading long emails filled with endless questions and doubts and who was also incredibly helpful and supportive. Thank you, John.)

I’m not sure how many more poems I’ll be able to write. But I have a list of poetic subjects to contemplate, and the most important thing is that I’ve given myself the freedom to write about them. Perhaps “freedom” is the wrong word to use in this case; I like to think that I have the responsibility to write these poems, if I choose to accept that responsibility.

And on this sunny morning in May, I really think I will.



Spring has finally come to Northern Michigan, where I live. One might think that would make things easier, that creative juices would flow as freely as the sap in the trees and plants that are absorbing the sunshine. But unfortunately that’s not how it works. Spring is a dicey time here, and not just because of the mud left behind by the melting of the snow. (Another thing that’s left behind is shovel-loads of dog feces, which the receding snow banks offer up as yet another sacrifice to the disappearance of winter.) The truth is that when the weather clears and the outside world looks brighter, sometimes it’s disconcerting when your internal world hasn’t kept pace. It can be depressing, because it’s hard to kick yourself in gear to get things done, and in spring time, you have no excuse not to.

So when I saw that a local store was offering a poetry workshop during the month of April in honor of National Poetry Month, I signed up for it on a whim. I don’t know whether I will write any poems as a result of this workshop, but that’s not really the point. What I’d like to happen is for me to rekindle my creative impulses, and so far, though I’m still wrestling with SI (Springtime Inertia), I think I can detect the beginning of some movement towards more of a creative flow.

But the workshop has reminded me of an important question I’ve had over the last few years–one that may be unanswerable but still deserves to be asked:

What makes good writing?

It’s a question I’ve been pondering seriously, even though it might sound like I’m being flippant. Having taught literature throughout my professional career, I should be able to answer that question without too much trouble. For example, as a writing instructor, I’d say, “Good writing is clear, succinct, and precise. It shows consideration for the reader by adhering to the commonly accepted rules of grammar, spelling, and punctuation. It connects the ideas it presents in a way that is easy to read and understand.” I think that’s a good start for a college composition class, anyway.

But clearly this will not work for most creative writing. Poets, for example, often show little consideration for their readers. In fact, I’m not sure contemporary poets actually write with readers in mind; often they seem to be jotting down notes to themselves for later reading. Not that there is anything wrong with that at all–this is, after all, why I am interested in poetry at this point in my life. I’ve realized that there are certain subjects and ideas I want to explore that are better suited for poems than for short essays like this one, and I think it’s worth the time and effort to try to articulate them in poetic form.

However, let’s get back to the question: what does make good creative writing? I am having a hard time formulating an answer. As I get older, I seem to be suffering from the reverse of the Dunning-Kruger Effect. I am less sure of everything I think about, even questions which I once felt sure of the answer to. But as far as good writing goes, I have come up with a provisional answer, and although I don’t find it very satisfying, I thought I’d try it out here.

I will begin by saying that the question itself is misguided. That’s because there is no such thing as good writing–only good reading. When we ask the question “what makes good writing?” we’re actually looking through the wrong end of the telescope. A good reader, I submit, is able to read almost anything and be enriched by the experience. A good reader will read any text, be it a poem, essay, novel, or piece of non-fiction, and find connections to other works. Of course, this is not to say there is no such thing as bad writing–I think we all know that it does exist–but that is a different issue. Seeing examples of bad writing will help us understand what not to do, but it won’t really help creative writers learn what to do to create good writing, so once again, I think it’s best to turn the question on its head and focus on what makes a good reader rather than what makes good writing.

After all, it has to be far easier to learn the skills required to be a good reader than to learn to be a good writer. And there are all sorts of advantages for the good reader–not only personal and professional, but social and political, as well. I think I’ll have to ponder on this one for a week or two, however, before I begin to identify how to create good readers and what makes good reading. For now, though, I’ll end with the suggestion that the world would surely be a better place if there were more good readers in it. I’ll go even further and add that maybe we’d all better get to work to see how we can do our part to create good, solid readers, because good readers make good citizens, and we can surely use a great many more good citizens in our world right now.

Dream Novels

Communardes, Wikimedia

I’ve now been keeping this blog for about a decade, and I have to admit that I feel a sense of accomplishment for some degree of consistency in writing. True, I haven’t been consistent about my posts–indeed, sometimes long gaps stretch between them–but I have so far always returned to this site to write yet another mini-essay on a subject of my own choosing. It all began, I recall, when I realized that it wasn’t exactly fair of me as a composition instructor to ask my students to write on-demand essays for me when I wasn’t at least prepared to produce my own essays. So I set myself the task of writing, in a sort of public way, to honor the commitment I’d hoped my students would feel for their writing classes. After all, as Daniel Stern (the writer, not the actor) once told me, “A writer is someone who conducts their education in public.”

Over the last few years I have been doing that on steroids, so to speak. I’ve tested out strange and new ideas I’ve had here, and I’ve revealed my determination to put myself back to school in order to complete, or at least to remedy, what I consider a half-hearted education. (Hence my decision to take a math class at the local community college where I once taught English and Speech–a decision which accounts for my inconsistency in posting [as if I need an excuse!]. Algebra, it turns out, is quite time-consuming–but more on that and what I’m learning in a future post.)

Perhaps part of my original motivation in starting this blog was to try to garner readers for my self-published novels. Yet that motivation has fallen by the wayside; I’m no longer interested in trying to expand my reader base, and in fact, I’m not sure I actually want to write any more novels. I say this not from any kind of pique or bitterness, but more from laziness. If I can outline the story, in other words, and tell it to myself, what need have I to write it down and spoil it all? Yet there’s also an element of humility playing into this. The older I get, the less I feel compelled to throw in my two cents. Moreover, the older I get, the less certain I feel of anything, particularly my potential to contribute to the vast array of written works already out there. It seems just as good a use of my time to read more stories, stories that people have forgotten by obscure authors who haven’t gotten the recognition they deserve. (Perhaps this deserves a future post as well!)

And yet….

And yet there are stories I’ve thought of and have sketched out in my mind, and I hold them dear. They’re like unfinished sweaters I’ve knitted. I think I know what they’d look like if I finished them, but I’m not sure about all the intricate details. I don’t know how exactly they’d fit, either. So when I think of these “dream novels” (I’m adapting a term from the essayist Charles Lamb, from his essay “Dream Children: A Reverie,” a lovely piece of old-fashioned writing), it’s with a certain degree of wistfulness as well as some real curiosity, to see what they would become if I ever did write them. After all, as most writers know, one can never know exactly what one thinks until one sees what one has written.

Anyway, the rest of this post will be spent in listing my Dream Novels and sketching out their plots, just so that someday, when I have too much time on my hands and more confidence in my possession, I can consider coming back to one or two of these ideas. They are listed in no particular order below.

1. A novel about Princess Charlotte–not the present one, but rather the daughter of George IV (1796-1817), the heir to the throne of England, whose early death in childbirth (along with her infant son) precipitated the hereditary crisis that would result in the the accession of Queen Victoria to the throne a generation later. Her death changed history. But she was also a really interesting character, and she married Leopold of Saxe-Coburg-Saalfeld, who would later, long after her death, become the first king of the Belgians. He was a huge influence on European politics, despite being a relatively unknown and unimportant German prince. And he was incredibly handsome, and was, to all appearances, heartbroken at the death of Charlotte. My twist on the narrative, however, would be that Charlotte’s life story is narrated by Cornelia Knight, who served as Princess Charlotte’s companion/governess, and who saw a great deal of the world, especially for a spinster in the early nineteenth century.
2. A novel about one of the survivors of the the Paris Commune, an historical interlude about which most Americans know very little, if anything at all. At the end of the disastrous Franco-Prussian War (disastrous for the French, that is), the victorious Germans were set to enter into Paris, but the citizens revolted against their own government and refused to surrender, at which point the French government declared war against the Parisians, who had decided to rule themselves. From March until May, 1871, Paris was under siege and existed as a Commune–an experiment in democracy that bears, at least for Americans, an unfortunate name. Women were essential to this experiment, and when it was defeated by the government, they were blamed for much of it. My story follows one of these women into anonymous exile in London, where she gets involved in another political movement, all while a journalist and his sister attempt to identify the mysterious French teacher who lives down the street from them in Bloomsbury.
3. On the lighter side, a murder mystery involving a community band in a small town. One of the musicians gets himself murdered–it would be the first chair trumpet player, for obvious reasons. (If you don’t know what obvious reasons I’m referring to, then you have clearly never played in a community band.) The detective would be, naturally, a woodwind player (I’m partial to clarinets), and would weave in and out of the idiosyncrasies of the various musicians in order to solve the mystery.

That’s all I have for now. Any one of these stories could consume my creative life for the next several years, if I allowed it to do so, but I can’t quite convince myself that it’s worth the effort. After all, there’s so much to observe in this world, so much to study, so much to absorb, that I’m simply not sure that I should commit to work of this sort. And yet, while work of this sort is apparently self indulgent and ultimately pointless, I know well enough that the product of that work isn’t always the point, and it’s what one learns while undertaking it that matters.

There are so many ways of learning, and I find it sad that as a retired teacher I’m still learning so much about the whole process. Ultimately, when I’m ready for the learning that these projects offer–assuming I ever am–I’ll take a stab at it and perhaps come up with something worthy of posting here, in installments.

Until then, it’s back to studying Algebra!

Private Clavel: My Private Marathon

One of the things that kept me going through the dark days of following Trump’s election was translating an entire French novel, as I wrote about here. I started my translation at the end of November, 2016, and finished it in December of 2017, so it took slightly more than a year of work. Yet I never knew quite what to do with my translation. I made a few half-hearted attempts to publish it, submitting a chapter to several reviews, but nothing took, and so I put it high up on my shelf and tried to forget about it.

However, last summer I discovered that a translation of the book had been published, back in 2019. I greeted this news with mixed feelings, as can well be imagined. I had long determined that no one else was interested in Leon Werth’s Clavel Soldat, that it was too dated or obscure for publication. I also knew that I was a novice translator, and that my chances of publication were very slim. But seeing that someone else had managed to get their version into print still evoked a spasm of writerly envy–short-lived, true, but envy nonetheless–and made me, for the about a day or so, sullen and bitter.

Then, however, I did what any honest writer/translator would do: I ordered the book from its publisher, Grosvenor House Publishing Ltd. Then, in the brightest days of summer, I crushed my sour, envious attitude, and when the book arrived, I placed it on my desk, determined that when winter came and I wasn’t busy with gardening, hiking, mushrooming, and visitors, I would read Michael Copp’s translation (which he calls Private Clavel’s War on War) and compare it to mine, word for word. I was convinced that there would be much to learn from this exercise, and I felt that Mr. Copp, as well as Leon Werth, deserved this much attention from me.

For the last two months, I’ve been engaged in this activity, and I have indeed learned a great deal. True, there are times when I thought it seemed a pointless exercise, but then I realized that many people engage in pointless activities for fun and for health. As an example, consider running. Lots of people run several times a week, working to increase their endurance. What was I doing, if not working to increase my mental endurance, my ability to use every atom of intelligence and memory and reasoning I had in my poor, beleaguered brain in order to make it stronger? So I compared what I was doing to training for a marathon. After all, most runners never expect to win the marathon races they enter–merely finishing is the point. For me, finishing my translation of Clavel Soldat had to be the point, not publishing it, and reading Copp’s translation in conjunction with mine would prove that I had, indeed, completed my own private marathon.

I have indeed learned a great deal from this exercise. First of all, on a purely practical level, I learned to use the Immersive Reader / Read Aloud tab on MS Word. This function allowed me to listen to my version of the translation at the same time that I read Copp’s book, speeding up the whole process. I can see how the Read Aloud function would be a real benefit to anyone proofreading their own work and I’m sure I’ll use it again.

As far as the actual translation goes, here are a few things that I’ve learned. Most important, translation is an art, not a science. This is a truism, but it bears repeating here. I will just post two versions of the same passage from Chapter VII (page 182 of the original) to illustrate:

The next day, Clavel receives a package of newspaper clippings. He knows. Those who write far from the front lines fight in their logical citadels, everyone for his or her own lie. He knows now that there is nothing but an immense vertigo within a great cataclysm. He is in the midst of this cataclysm that the people look at from a distance, like a tourist watching the eruption of a volcano from several kilometers away.

The next day Clavel received a packet of newspaper cuttings. He knows. Those who write in the rear carry on their fight in their citadel of logic, each one supplying his own lie. He now knows that there is only a great frenzy in a great catastrophe. He is in the middle of the catastrophe that the people in the rear contemplate, as a tourist contemplates the eruption of a volcano from a distance.

And another, longer, passage, this one from the last page of Chapter XV (page 300) of the original:

The division headquarters, with its gleaming officers and its clerical workers. A field near the cemetery is chosen for the execution of Private P., from the colonial infantry.
“What did he do?...”
“He didn’t want to go into the trenches…”
It is dawn. Six hundred men are lined up: his company and parts of other units.
An ambulance wagon has been prepared in case Private P.  faints or resists.
The wagon is not needed. Private P. walks to his spot. Twenty men, bayonets at the ready, escort him. He has just as much the look of a soldier as the other men. The only difference is that he doesn’t have a rifle. He looks straight ahead. He has the face of a sick man being taken out of the trenches. 
Private P. and his escort come to the field where the troops are waiting at attention. 
Private P. is there with the other twenty men. No one has come yet to take him. 
A warrant officer orders: “Left side, line up…”
Then, “Right side, line up…”
And Private P., who is going to die, seems bothered only by not knowing how to stand. He turns his head to the right, puts his left fist on his hip. Private P. follows the order “Right side, line up” with the other soldiers.
Twelve soldiers have fired. Private P. is dead.

It's the division with its gleaming officers and its pen-pushers. A field near the cemetery has been chosen for the execution ceremony of soldier P.... of the colonial infantry.
'What did he do?'...
'He didn't want to go to the trenches'...
It is dawn. Six hundred men are drawn up; his company and parts of other troops.
An ambulance has been prepared in case soldier P.... should faint or resist.
The vehicle is not needed. Soldier P....marches to his rank. Twenty men, with fixed bayonets, escort him. He looks a soldier, just like the others. He has no rifle, that's all. He looks straight ahead. A sick man, coming back from the trenches, has this look. 
Soldier P...is there with the other twenty. They haven't yet come to take him. 
An adjutant gives the order: 'Left turn'...
Then: 'Right turn'...
And soldier P...., who is going to die, seems bothered by not knowing where to stand. He turns his head to the right, puts his left fist on his hip. Soldier P...., along with the others, carries out the order: "Right turn."
Two soldiers fired. Soldier P... is dead.

The differences are minimal, but they are there. The only major difference is a bona fide mistake in the second selection, where the French “douze” is translated as “two.” This is something I noticed by comparing translations: mistakes do happen. Sometimes words are mistranslated, and not only when there is debate or obscurity about what the word means. Even more unsettling, sometimes whole lines or short paragraphs are left out: both Copp and I are guilty of this error. Translating an entire novel is a laborious task, so it makes sense that such mistakes happen.

But this led me to another discovery, one that unsettled me more, if possible, than finding that someone else had beat me to the punch and had published an English translation of Clavel Soldat. Mistakes such as the ones I noted above are inevitable in a long scholarly work, but editors should be able to find and eliminate them; after all, that’s what they’re payed to do. Why had this not happened in Copp’s translation? The answer is simple: I believe Copp had no editors, because it turns out that Grosvenor House Publishing Limited is what was once called a “vanity press”: it is essentially the same as self publishing on Amazon (which I have done myself and, to a certain extent, now regret), and there appears to be little quality control. This discovery floored me, for reasons I’ll explain in a moment. But regarding the errors in the text, I’d still argue that Copp did an excellent job on his translation. The fact that it differs from mine attests to the finesse and subtlety required in translation itself. Like so much in life, there are no right or wrong answers, and it is important to remember that diversity is a gift, not a curse. What this does mean, however, is that any time we read works that have been translated, the translator has made choices, most of them unconscious, that reflect how he or she sees the world, and this inevitably skews the purity, so to speak, of the original words. Again, that is not necessarily a problem; it’s just important to be aware of it when reading literature in translation. When a translator creates a translation, it’s as if all his or her past reading, thinking, even life experiences, work to color the words he or she chooses, and so it makes sense that each translation would be as individual as the person who produced it.

What more have I learned from this grand, marathon-like exercise of mine? I still think Clavel Soldat is a good book, and an important one. Leon Werth created a character who despised war and dared to write about it during the war. His depiction of life at the Front in 1914 is ruthless in its clarity and in the sense of betrayal Clavel feels as he witnesses both the horrors of war and the hypocrisy of those participating in it. I understood the First World War much better after reading the novel, and so I am despondent and, to be honest, disgusted about the fact that its translation appears to be unpublishable today and that self publishing is the only recourse for a novel of this type. Consequently, few English speakers will ever read it. My conclusion — which I hope is not the result of a sour-grapes attitude — is that publishing, like so many things today, is a grand game of popularity and attention-grabbing. In times past, there was room for less popular works, if they were deemed important. Now, however, we live in an attention economy, and important works are bypassed for those works that get a bigger, louder splash.

We lose so much by this. History fades away, covered up by the clamor of contemporary voices, all competing for the biggest slice of an economic pie that really doesn’t matter in the long run. What we lose by this is access to history, is the abililty to understand, so to speak, what the long run is and how it affects us. We become more provincial in our thinking and less capable of forming big ideas because we are only able to access those works deemed most liable to get the biggest bang for publishers’ bucks. It’s a tragic situation, and I’m not sure what we can do to fix it.

In the end, I have to be selfish and say that I’m glad I spent a year plowing through Clavel Soldat, as well as the six additional weeks comparing my translation to Michael Copp’s. True, it may be time that I’ll never get back, but it was time well spent, because it has enriched my knowledge of history, literature, and not least of all, the art of translation. All of these things are valuable, and because of that, I’m satisfied.

Forest Bathing Can Save Your Soul

For the past few years, I’ve been trying to transform myself from a retired academic to a smallholder. (A “Smallholder” refers to someone who owns or manages an agricultural plot that is smaller than a traditional farm. It is the term the British use; I prefer it to the American term, “hobby farmer,” which has a hollow ring to my ears.) The problem is, I’m essentially a city girl who was born in Brooklyn at the tail end of the Baby Boom, back when it was definitely not cool to be from Brooklyn. My knowledge of rural life is meager, and although I’ve been working on expanding it for the past twenty years, I have more to learn than I have time left to learn it in.

Why should I be invested in this self-transformation? That, in fact, is what I’d like to try to examine in this post. I have always been attracted to the outdoors; one of my earliest memories is of trying to make a fishing pole out of a paper clip and some string and tossing it into the shallow waters of a lake–perhaps it was just a fountain–in Brooklyn’s Prospect Park. Twenty years ago I opted out of urban living by moving from Houston, Texas, to rural Northern Michigan, a move towards my present state of mind. But several things have compelled me to reinvent myself during the last five years, a curious blend of events that left me forging a new path, and perhaps a new identity as well.

The first step towards my present state of mind occurred six years ago, when I retired from my job as a community college professor. It was an early retirement, but definitely a good time for me to go. Because of falling enrollment, I was able to teach fewer of the courses I really enjoyed, and I knew there were other people who wanted–and needed–the job more than I did. It seemed only right for me to move out of the way and let them have a go. So I did, and fairly quickly I found myself foundering. What was I, if not an English professor? My purpose in life seemed inextricably bound up with my identity as a teacher. With that identity receding quickly into the rear view mirror of life, I felt destabilized and adrift.

The next thing that happened was the election of 2016. Without going into details (you can find many posts on this blog from that period that reveal my state of mind), I’ll just say that I felt as if the entire world was falling to pieces. In the midst of political unrest and sorrow at the state of my country, I struggled to find something solid to hold onto. The world, I told myself at one point, had become a caricature of itself, something like the world of Voltaire’s Candide, a work I’ve never really felt comfortable with. But then I remembered the end of the story. Disappointed with life after all his adventures, dealing with his own sense of loss and languishing in what I’ve begun to call the “Peggy Lee Stage of Life,” Candide asks his teacher what he should do with the time remaining to him. The answer was simple: “Cultivate your garden,” says Master Pangloss. I decided then that this could be good advice, and I too, like Candide, began to work at gardening.

And there was yet another force at work as well. At this time, I was working on a novel that was set in southern England. I was trying hard to make the landscape a large part of the novel, as its effect on the protagonist worked its way into her psyche. To get myself into a frame of mind in which I could describe the trees and fields around my character, I tried to immerse myself in the forests close at hand, here near my home. It worked, to a degree, but gradually something unexpected happened. In the course of trying to drink in the feel and look of the forest in order to write about it and weave it into my story, I found that I had accidentally fallen in love with forests myself.

Within a couple of years, my husband and I found a piece of land for sale relatively close by our house and bought it. We had no plans to farm–we just wanted a change from our life in a small town. We were attracted by the hilltop house overlooking eight cleared acres abutting the winding front road; the hidden treasure, however, was the rich forest that stretched behind it. Old logging trails wound through a tangle of beeches, maples, hemlocks, and ironwood trees. In the first few years, it was quite possible for me to get lost back there. But during the last couple of years I’ve spent many days walking the paths, working on making new ones, and learning the smells, sounds, and general feel of the woods, and I don’t think I could get lost there now.

I have made a discovery. Owning a forest is like owning a cat. You don’t own it at all; rather, it owns you. You’re there merely to take care of it and appreciate it. You develop protective, nurturing feelings for it, while respecting its wildness and independence. Sometimes you watch from a distance, awed by its power and majesty; other times you simply want to gather it in your arms and hold it tight, protecting it from all harm. It is not an exaggeration to say that I have learned to love the trees and the wildlife they shelter with a devotion that I’d once saved for the works of literature I studied from my early adult years. And the things I’ve learned in this time! For example, I know now that the forest can look completely different from one day to the next, much less from one season to the next. In the last few years, I’ve thrown myself into reading books about ecology, about natural science, about biology–things I’ve not studied since I was a high school student. And I’ve learned to appreciate what the forest gives me: wicker baskets full of delicious mushrooms, colorful trillium and Dutchmen’s britches covering the hillsides in spring time, a rare glimpse of a deer’s back as it passes by, and chipmunks growing bolder in my presence.

My transformation is not yet complete. It may never be complete. I still have difficult days when I wonder what my purpose is. Often I feel useless. And, like Candide, I still have those Peggy Lee days, when I wonder if that’s really all there is. But the forest is always there, ready to pull me into its ageless world when I walk through it, no matter the weather, the season, or the time of day. And in the final analysis, while I can trace how I came to love the forest so deeply, I know that this rational exploration doesn’t stop me from counting myself lucky to have discovered such a sweet and pervasive passion so late in life.

All is Not Well

I have been writing much less frequently, for the simple reason that I find I have nothing much to say, perhaps because it’s been a busy summer filled with outdoor activities and a new puppy, or because I’ve been in reading rather than writing mode. I used to push myself to write here in order to present material, as a kind of gift, to my readers. That was before I realized that my readers are ephemeral, ghost-like entities who may or may not exist in the real world. Since that realization, I’ve not only given up on gift-giving of this sort, but also actively discouraged (if you can count de-linking this blog from Facebook as discouragement, which I do) readers from finding The Tabard Inn. I did this originally in a fit of pique, but now I believe that it was a healthy thing to do, and the sum total of this paragraph is this: if you have somehow found this blog and are reading it now, you are one of the few, the special–not to mention the exceedingly strange–people who actually read what I write. So thank you for that. I think.

Anyway, I have something to say this morning, which explains this post. Having seen an advertisement for Mona Awad’s new novel All’s Well (Simon and Schuster), I decided to read it, and even convinced a friend (thanks, Anne!) to read it as well. And now I’m moved to write about it, not because it’s good, but because I hate it.

Fair warning: the book may indeed be very good, so don’t look upon this as a bad review. After fifty-odd years of reading critically, after a career in teaching literature at the college level, after immersing myself in the world of books and reading for my entire life, I find I no longer have any confidence in my own judgments on literary works. I mean, I know that I personally think Tintern Abbey is one of the greatest pieces of writing ever written, just as I know that I personally love pretty much any book by Dickens or any Bronte (but not Anthony Trollope, who can sometimes be a huge arschloch)–but I don’t know if that constitutes great literature, or something that other people will enjoy or find value in. I seem to be entering a period of extreme intellectual solipsism, which is worrisome, yet not too worrisome considering all the crap that’s going down in the world at this point in time.

So, to continue, I hated All’s Well for several reasons. First, and most intensely, because Awad does what I have tried to do in the two novels I’ve written: identified a literary subtext and play a textual game of cat-and-mouse with it as I develop the characters, setting, and plot. For Effie Marten, it was of course Jane Eyre; for Betony Lodge, it was Far From the Madding Crowd, or perhaps The Woodlanders, or any of several Thomas Hardy novels (other than Tess of the D’Urbervilles or Jude the Obscure–I know enough to leave those two novels alone). Seeing someone else do what I’ve tried to do with uneven success sets my teeth on edge, which may not be charitable of me. To be honest, I don’t think Awad was any more successful than I was, and maybe that’s the problem.

It bothers me, too, that Awad chose a Shakespeare play (or really two, perhaps even more) as a subtext, not because Shakespeare is inviolable or holy, but because she spins her novel out of the most pedestrian, superficial reading of All’s Well That Ends Well possible. I have long held the opinion that most Shakespeare plays are monumentally misunderstood by modern audiences, a fact that is exacerbated and perhaps even caused by the fact that the plays are by and large mis-titled. The Merchant of Venice, for example, is not about the Merchant Antonio–it’s more about Shylock, or even Portia, than it is about Antonio. Is Othello about Othello or about Iago? Julius Caesar seems to focus much more on Brutus than it does on Caesar, who is killed fairly early in the play. As for the comedies, the titles are simply throwaway phrases designed to get attention.

When I used to teach Shakespeare, I would tell my students that the plays we studied could be boiled down to one word. This may or may not be true, but it is a good way to get students into reading and understanding a Shakespeare play. I’ll give a few examples below, but it’s important to realize that there is no one “right” word to describe a play. You can use this method like a tool–something like a slide rule or a kaleidoscope to lay over each play, dial up a word suggested by the play, and get to work interpreting it.

Much Ado About Nothing: Interpretation

The Merchant of Venice: Gambling

Romeo and Juliet: Obedience

Whether this method works or not isn’t the issue here. What matters to me with respect to Awad’s novel is that she picks the limpest, flimsiest interpretation of All’s Well That Ends Well possible. Granted, it is a problematic play (though I disagree with the tendency to call it a “Problem Play,” as if, like an unruly child, this label can explain everything and short-circuit any attempt to make sense of it). The whole plot, in which the heroine Helena falls in love with the idiotic but presumably handsome Bertram, who rejects her until the last line of the play, is pretty distasteful and downright stupid. But that, I would argue, is not the point of the play. Rather, I believe the play is about how Helena empowers herself in a patriarchal system, ending up in a far more powerful position by using the very tools of patriarchy to do so, while also helping other women “beat” patriarchy at its own game on the way. Granted, this limited victory is nowhere near as satisfying as it would have been had Helena smashed patriarchy to smithereens and performed a wild dance upon its writhing body parts, but that kind of action was simply not possible in the world depicted by Shakespeare. Helena, I’d argue, did the best she could in the world she found herself in.

So, to get back to Awad’s novel, my biggest problem with the novel is that it rests on a sophomoric interpretation of the play. And so, what I thought would be a witty and erudite use of All’s Well that Ends Well became a kind of albatross that made me wince while reading the book. In other words, I thought I might be getting Shakespeare ReTold (a really fine set of retellings of five plays produced by the BBC), but instead I got a mashup of Slings and Arrows plus “The Yellow Wallpaper.” It felt cobbled together, and, frankly, kind of pointless. In the end, Awad uses a kind of trick to grab her readers’ attention, then spins off into a tale that is full of sound and fury, but ultimately signifying nothing.

That, however, seems to be how I see a great deal of contemporary literature these days, full of sturm und drang but ultimately useless in my trek through life. As I said above, I don’t have the confidence or the desire to argue that my approach is the correct one–rather, I question my own judgment, wondering whether I’m the only one who feels this way. And so, rather than push my own view of this novel, I’m satsified to register my own objections to it here, acting like King Midas’s barber, who whispered that his employer had donkey ears into a hole in the ground just because he had to tell someone his grand secret.

Donkey ears? That would be A Midsummer’s Night Dream, wouldn’t it?

P is for Parakeet

George and Martha, my current parakeets

I do a lot of reading in my spare time, and I have tons of spare time right now, so it follows that I have been reading a great deal. As I indicated in my last post, I’ve stepped out of my comfort zone (Victorian and early 19th century novels and poems) to learn a bit about environmentalism and the natural sciences. One book I recently started to listen to is Helen Macdonald’s H is for Hawk, a memoir of her attempt to train a hawk as a therapeutic attempt to cope with her father’s death. I have to be honest: there’s a part of me–a part I’m not proud of–that is just a bit critical, perhaps more than a little impatient, with Macdonald’s musings. I began to talk back to the book in that way we do when we’re feeling a little bit snarky. (I assume we all do this–at least, I hope I’m not the only one in the world who talks back to books.) In short, I wondered what my foray into avian behavioral training would like if I deigned to tell my story.

This is my long-winded way of saying that for Helen Macdonald, H may be for Hawk, but in my world P is for Parakeet.

I must have been about six years old when I acquired my first parakeet, a blue-breasted beauty that sat in his cage all morning long, patiently awaiting my return home from school, only to burst into song when I charged through the door of our Brooklyn duplex. His name was Fluffy, short for Fluffernutter Ike, a compilation of the two things I loved most in the world at that age: fluffernutter sandwiches (a noxious peanut butter and marshamallow combination that was guaranteed to make anyone over ten years old gag) and Dwight D.Eisenhower. I liked Ike because he was a war hero and a fine president, but most of all, because his birthday was the day before mine.

At any rate, I had had Fluffy for perhaps a year when he succumbed to a draft in the house, dying on Christmas day. Aside from the all-too-real grief this inspired in a small child, Fluffy’s untimely death presented another problem: what to do with the body. I’m sure my parents suggested disposing of it in the trash can outside, but I was adamant that he deserved a proper burial. I’m not sure who came up with a plan so brilliant it was doomed to fail, but this is how we solved the problem of what to do with the dead parakeet. Amid the Christmas debris of opened presents, strewn wrapping paper, and red-and-green ribbons was a gaily striped gift box, perfectly sized for Fluffy’s small, inert corpse, and into that he went. Even I realized that it was too gross to keep the box in the house, so we agreed that it seemed best to put the box with Fluffy inside it into the metal milkbox that sat outside, just below the kitchen window. Into that milkbox went Fluffy’s casket to await a proper burial, hopefully within the next few days, when the Brooklyn ground thawed.

It’s pretty obvious by now where this story is going, so I’ll be brief. Our milkman must have been of English descent, because he took Fluffy off with him, undoubtedly thinking that since it was Boxing Day, we had provided him with a nice little gift. It was a gift redolent of the meal that Bette Davis serves Joan Crawford in the movie Whatever Happened to Baby Jane? When I came inside that afternoon, after playing outside with my new Christmas toys, with the news that Fluffy’s casket had mysteriously disappeared, my parents were aghast. I’m not sure what they did in response: perhaps they actually went out and got the milkman a proper present. I’d like to think that they did. All I know is that by the following afternoon, the box–with Fluffy still nestled peacefully within it–had been discreetly returned to the milkbox.

Perhaps I was inconsolable at the loss of Fluffy, because I got another parakeet fairly quickly after his demise. This parakeet was named Dinky, and he was present at the break-up of my family, a spectacular and somewhat tragic event in which my parents had one last dramatic and prolonged argument that ended with my mother taking the three of us children and our beagle Honeybee to Texas with her. In the chaos preceding our departure, my mother forgot about Dinky, but I must have protested loudly, because she supplied me with a shoebox and a Schrafft’s bag and told me to put Dinky in there for the duration of the airplane flight. This was, of course, long before security checks and TSA, and it was relatively easy to sneak things onto a flight, and Dinky, secure in his well-ventilated cardboard box at the bottom of the paper shopping bag, got on board without a hitch. I sat, somewhat shellshocked by the knowledge that things would never go back to normal for my family, clutching the Schrafft’s bag on my lap as the plane taxied onto the runway and took off. Once we leveled off, however, the stewardess (it was a stewardess in those days, not a flight attendant), came by, glanced at the bag that I was clenching, and took it from me, saying, “You don’t have to carry this on your lap for the whole flight, dearie. I’ll put it up above you.” I watched, tongue-tied with horror, as she took my bag, turned it upside down, and jammed it into the overhead bin. Fearing that I would get in trouble for sneaking my beloved bird aboard, I said nothing even though I was convinced that the jolting had killed him. I simply sat there in my aisle seat, blinking back my tears, the picture of nine-year-old stoicism.

But something surprising happened about midway through the three-hour flight. Dinky, far from being dead, perked up and started chirping–quite loudly. In fact, his song got louder and and louder until everyone on that plane, it seemed, heard it. It was an insistent chirp–thankfully not a screech–and it crescendoed until it was the only sound I could hear. I’m not sure what my mother was thinking, as she was in the row behind me; goodness knows she had enough to deal with. “Do something,” said my sister, who was next to me; however, I had no idea what to do. It turned out that I didn’t need to do anything, because just then the stewardess walked up to my seat. I squeezed my eyes shut, certain that I was about to get in big trouble. There was a pause, and then, leaning over me, she patted me on my shoulder and handed me the Schrafft’s bag, with Dinky still singing inside. “Here,” she said. “I think you need to keep this with you, after all.” I hope that stewardess understood what a difference she made to a young girl who had a lot on her plate that day.

Fluffy and Dinky have been followed by several other parakeets. Most recently, I’ve fallen into the trap of multiple bird ownership. Having found out that parakeets do well in pairs–at least mine do–I keep two together, thinking they provide companionship for each other, and always intending that this pair is the last pair I’ll own. But somehow I can never extricate myself from parakeet ownership. People have actually given me parakeets that they no longer want, and, like a sap, I accept them and take care of them. I suppose, in a way, taking care of parakeets is one of my functions in life.

And while I like parakeets a lot, I can’t say that I feel anything like the veneration and awe for them that Macdonald feels for hawks. But there’s a bright side to that–my peroration on parakeets is a hell of a lot shorter than hers on hawks is and, I hope, a bit less pretentious as well.

The Autodidact: Nature/Ecology/Conservation

Like many other people my age, I received a fairly narrow education in high school. I compounded the damage done by willingly narrowing down my fields of interest even further once I got to college, and by necessity, still more when I was in graduate school. It follows that now, as a retired professor of English entering my seventh decade on this planet, I can discourse endlessly about William Wordsworth, Sir Walter Scott, and the fact that the former gave the latter a gift of a Border Terrier dog named Pepper (honest!), but until recently, I couldn’t tell you a thing about how trees grow and what happens in a forest.

Had I become aware of this lacuna in my education earlier in my life, it probably would not have bothered me. Many people, perhaps most people, live with their own ignorance staring them in the face. I was no different; if I was ignorant in one topic, I had other areas of knowledge to compensate for it, right? Perhaps what is remarkable isn’t so much my ignorance, but rather my decision to remedy it, although this scenario must be repeated endlessly among human beings, in adults and children alike. One day, seemingly out of the blue, we decide we want to know more about something, and so we take it up, read about it, perhaps compulsively, until we educate ourselves out of our own ignorance.

The event which sparked my self-education is simple to identify: my husband and I bought a forest. Describing it in this way, however, makes me cringe with distaste. I hate using the term “bought,” which denotes a mere cash transaction. It’s better, I think, to say that I acquired a forest, becoming its guardian and its careful observer. By acquiring it and walking in it hundreds of times, I fell in love with it. And like any new lover, I wanted to know everything about it I could; so, when I wasn’t in the forest, or doing the endless quotidian tasks that make up the greater part of a person’s life, I set out on my journey to learn as much as I could absorb at this late date about trees, ecology, and conservation.

One of the first books I read was Aldo Leopold’s Sand County Almanac, which is pretty much the Lyrical Ballads (for you Wordsworth lovers) of ecology writing. The idea of a Land Ethic was new to me, but I could see that it was as important, in its way, as the idea of negative capability was to Keats. I took two full pages of handwritten notes from Leopold’s book, which I won’t go into here, as it deserves its own blog post. For now, I’ll just say that several generations of conservationists and ecologists have been influenced by Leopold’s book; I was late to the party, as usual, and had never even heard of it–evidence of my flimsy natural science/ecology education.

Leopold’s book is important, but I have also been touched by a book I picked, at random, from the shelf of my local library: The Biography of a Tree, by James P. Jackson. It is just what it says it is: the life story of a white oak tree, from acorn to seedling, then on to forest giant and finally as a dead trunk rotting on the forest floor. This may not sound interesting, but Jackson pulls it off beautifully. The writing is careful and precise, while at the same time evocative. Jackson’s work, however, seems to be virtually unknown. (To prove this, I’ll just point out that his Amazon best-seller rating is even lower than that of my own two novels, and that’s saying something.) He seems never to have written anything else. In this age of instant contact, I found myself wanting to email him, or to follow him on Twitter to thank him for his painstaking work–but there’s no digital trace of him at all.

Alas, it is a sad and lonely business being a writer–as many of my readers know from first-hand experience. Pouring one’s heart and soul into a labor that will go unacknowledged is a risky business, and a thankless one, but at the same time it is a vitally important one. Can we take some slight solace in the fact that once published, a work may go unread for decades (The Biography of a Tree was published in 1979), only to spring to life, on cue, in a new reader’s hands, inspiring new thoughts, emotions, and passions decades after it was forgotten by an inhospitable public? Reading Jackson’s work, I realized that a writer’s life resembles that of the seventeen-year cicada, a recurring character in his book, a forest denizen that burrows itself below the soil for almost two decades, only to emerge into the sun for a mere month or two of life in the sunshine. The majority of its life is invisible, almost dormant–but it can accomplish so much during those short days it spends above the ground. Jackson’s book is the same: it may be inert and ineffective while it sits on the shelf of libraries, but once in the hands of an interested reader, what power it has! What influence! And though my appreciation of James P. Jackson comes too late to do him any good, at least it has done me worlds of good to have read, and appreciated, his work.