Posts Tagged ‘10-Speed Press’

Opening Words

Monday, May 14th, 2018

Forest Rhodie

Forest Rhododendron photo by Todd

“When an inner situation is not made conscious, it happens outside, as fate.” Carl Jung

I like to write letters to friends and to artists and writers and movie directors I admire. Sometimes my friends will send me letters, but the artists and writers and movie directors I write to very rarely answer my letters, though until twenty years ago if the admired person was British, Australian, or from New Zealand, no matter how famous, he or she always wrote back—but not anymore.

For many years, before there was email and texting and tweeting, I sent off several letters every week; and almost every day in those halcyon days of postal abundance, the postal service agent would bring me letters from friends. On my computer I have a file entitled Letter Head Quotes. In this file are pages topped with a quote I especially like, and I will either type a letter to someone on one of those pages, or print out the page and use the empty space below the quote to write a letter by hand.

Here are some of my favorite letterhead quotes and a few thoughts about them.

“I would suspect that the hardest thing for you to accept is your own beauty. Your own worth. Your own dignity. Your own royal pedigree. Your priestly identity as one who blesses and is blessed in return. Your own calling to learn to love and allow yourself to be loved to the utmost.”  Alan Jones

Alan Jones is an Episcopal priest who was the Dean of Grace Cathedral in San Francisco from 1985 until 2009. When I lived in Berkeley from 1995 to 2006, I would attend Evensong on Thursday evening at Grace Cathedral twice a month. I’d take BART from the North Berkeley station, get off at Montgomery Street, hike up the hill to the cathedral, walk the labyrinth adjacent to the cathedral, enter the cavernous church, listen to the Boy’s and Men’s choirs sing gorgeous unintelligible hymns accompanied by a genius organist, and open my heart and mind to Alan’s spontaneous prayer, which always concluded Evensong.

“When you wake up in the morning, Pooh,” said Piglet at last, “what’s the first thing you say to yourself?”

“What’s for breakfast?” said Pooh. “What do you say, Piglet?”

“I say, I wonder what’s going to happen exciting today?” said Piglet.

Pooh nodded thoughtfully. “It’s the same thing,” he said.

This quote from Winnie the Pooh is especially dear to me, literally dear, because when I was creating a book of my writing exercises The Writer’s Path with Mindy Toomay, I really wanted to use this quote in the book, and our publisher, 10-Speed before they were eaten by Random House, informed us that Disney, who now owns all things Pooh, was demanding five hundred dollars for the use of those few lines. 10-Speed was not about to cough up five hundred cents for our book, let alone five hundred dollars, so I coughed up the money, which amounted to ten per cent of my advance for the book; and I have never regretted the expenditure.

If I be not in a state of Grace, I pray God place me in it;

If I be in a state of Grace, I pray God keep me so.” Jean D’Arc

I first read this quote in Mark Twain’s novel Joan of Arc. I’ve read everything Twain wrote, and though I consider The Prince and the Pauper his finest novel, Twain considered Joan of Arc his greatest work. He spent two years in France meticulously researching his book, and he studied French for several years so he could read the transcripts of Joan’s trial in the original French with the aid of able translators. Despite Twain’s immense fame, no publisher would publish the book, so Twain published the fascinating work himself.

This quote, which comes from the transcript of Joan’s trial, speaks of a desire to be in a state of grace without needing to know whether one is in such a state. In that sense, the sentiment, when separated from the context of Joan’s trial, echoes the Buddha extolling the virtue of Not Knowing, of Beginner’s Mind—an innocent acceptance and appreciation of whatever we are experiencing.

In the context of Joan’s trial, these words are a testament to her astonishing genius, for this simple reply effectively defeated her brutal prosecutor and proved the most brilliant minds in the Catholic Church incapable of convicting her of heresy. Thus stymied, those hideous men tortured her until they imagined her anguished cries to be an admission of heresy—after which they quickly burned her at the stake.

But before they tortured her and killed her, they laid a pernicious intellectual trap for her. There was an arcane law of the Catholic Church stating that anyone claiming to be in a state of grace, or claiming not to be in a state of grace, was a heretic. So if Joan could be tricked into saying, or even implying, she believed she was or was not in a state of grace, she would be proved a heretic. Having been deprived of sleep and sufficient food for several weeks, having stood through weeks of trial in the face of legions of ghoulish priests intent on killing her, Joan, nineteen, illiterate, and knowing nothing of the complicated laws of the church was asked by the prosecutor, “Do you believe you are in a state of grace?”

As Twain describes the scene, the devious prosecutor asks this question almost as an afterthought at the end of a grueling day of interrogation. Joan gathers herself, awaits guidance from her angelic allies, and replies with quiet eloquence, “If I be not in a state of Grace, I pray God place me in it. If I be in a state of Grace, I pray God keep me so.”

In a more modern context, but in a similarly metaphysical vein, the following quote from Buckminster Fuller is a succinct description of how I believe the universe operates. I assumed that nature would “evaluate” my work as I went along. If I was doing what nature wanted done, and if I was doing it in promising ways, permitted by nature’s principles, I would find my work being economically sustained. 

Having shared this quote with many people, I can report that artists and poets and people who have lived unusual lives universally agree that this is how the universe operates, while everybody else says Bucky’s idea is hokum.

Here is one of my favorite Philip Whalen poems.

HOW MANY IS REAL

Whether we intended it or liked it or wanted it

We are part of a circle that stands beyond life and death

Happening whether we will or no

We can’t break it, we are seldom aware of it

And it looks clearest to people beyond its edge.

They are included in it

Whether or not they know

 

Shakespeare

Wednesday, February 26th, 2014

Shakespeare PC Map (todd)

 ©  1998 David Jouris/Hold the Mustard

(This article appeared in the Anderson Valley Advertiser February 2014)

“I know not, sir, whether Bacon wrote the works of Shakespeare, but if he did not, it seems to me that he missed the opportunity of his life.” James M. Barrie

A year ago we took possession of a spanking new paperback edition of The Oxford Companion To Shakespeare, the large handsome tome coming our way in a manner worthy of Shakespeare, and by that I mean in the way of the Bard’s zanier comedies in which complicated circumstantial chaos ends well—lovers united, villains chastised, parents pleased, gods appeased, and fools revealed to be wise. I should add that I never would have bought this book due to my limited financial reserves, thus it was only through cosmic largesse that the goodly tome became ours.

Here is the story. Our friend David Jouris, charming Berkeley eccentric, peripatetic photographer of dance companies, and indefatigable collector of quotations, is also the author of two unusual atlases of North America entitled All Over The Map and All Over the Map Again. These two delightful volumes are composed of thirty-three and thirty-four thematic maps featuring towns that really exist, accompanied by fascinating stories about the origins of some of the more intriguing town names. Among my favorites are an Optimistic map showing towns such as What Cheer, Windfall and Sublime, and a Pessimistic map showing such towns as Troublesome, Gripe, Last Chance and Bitter Springs. There are Theatrical, Dancing, Armed & Dangerous, Utopian, Literary, Animal, Musical, Eccentric, Egotistical, Numerical, Sporting, Lovers’, Saintly, and Mythical maps, to name a few, and most importantly, for the purpose of this tale, a Shakespearean map featuring such towns as Desdemona Texas, Rialto California and Romeo Colorado.

Some years before 10-Speed Press published David’s atlases, he brought out several of his thematic maps as black and white postcards under the aegis of his Hold the Mustard postcard line, and these map cards were deemed so groovy by the Library of Congress that several of David’s thematic maps were blown up huge and displayed in the Library of Congress lobby in Washington D.C. Then one day, two years after All Over The Map Again was published, and for reasons cloaked in mystery, David asked me if I thought he should bring out a color postcard of his Shakespearean map. The mystery is: why would David ask my advice when he unfailingly does whatever he wants regardless of what anybody else thinks? But not only did David ask my opinion about the Shakespearean postcard, he heeded my enthusiastic prediction that such a card would be a huge success, and he proceeded to publish the beautiful thing, thus making possible the comedy of errors I am recounting here.

Despite the ensuing (and mystifying) commercial failure of David’s Shakespearean postcard, I am ever happy to have this card on hand for sending to friends and to use as the self-addressed stamped postcard I include with my plays when I submit them to theater companies hither and yon. Shakespeare, it seems to me, is a most appropriate messenger for the ongoing and unanimous (so far) rejection of my plays.

Then one day David made a startling discovery: Oxford University Press was featuring his Shakespearean map in recent editions of The Oxford Companion To Shakespeare, the striking half-page reproduction captioned with, “This 1998 novelty postcard, which assumes a thorough familiarity with the Shakespeare canon, attests to the continuing presence of Shakespeare in American popular culture.”

Perhaps due to their excitement at finding such an ideal illustration, the editors at Oxford University Press neglected to secure the rights to use David’s creation for their book and thus had not recompensed him. Conveniently for David, the Oxford numbskulls published his map with © DAVID JOURIS/HOLD THE MUSTARD prominently displayed across northern Mexico, and thus were not only caught with damn spots on their hands, but with their spotted hands deep in the cookie jar.

Following relatively civil negotiations, the Brits agreed to pay David a paltry sum along with two copies of the hardback edition and two copies of the paperback edition of The Oxford Companion To Shakespeare, one of those paperbacks my reward for convincing David to manufacture the blessed card in the first place. And for the past year the good book has gone largely unread by moi until two weeks ago when, having finally completed the novel I’ve been madly writing for a year, I thought I’d try reading something I didn’t write, and possibly something I hadn’t read before.

So one tempestuous night, the fire crackling, the kettle burbling, I began to read that encyclopedia of Shakespearean factoids, and found the contents fascinating, entertaining, and scrumptious food for thought—may the gods of improbable probability be thanked for this gift. Here are a few brief selections from the tome.

acting, Elizabethan. The Elizabethan word for what we call acting was ‘playing’, and the word ‘acting’ was reserved for the gesticulations of an orator.

acting profession, Elizabethan and Jacobean. The Elizabethan word for an actor was ‘player’ and there were three classes: the sharer, the hired man, and the apprentice. The nucleus of the company was the sharers, typically between four and ten men, who were named on the patent which gave them the authority to perform and which identified their aristocratic patron.

Shakespeare, William (1564-1616), actor, playwright, poet, theatre administrator, and landowner; baptized, probably by John Bretchgirdle, in Holy Trinity church, Stratford-upon-Avon, on Wednesday, 26 April 1564, the third child and first son of John Shakespeare and his wife Mary.

Oxfordian theory, a term for what has since the mid-20th century been the most visible strand in the Authorship Controversy, the claim that Shakespeare’s works were in fact written by Edward de Vere, 17th Earl of Oxford (1550-1604).

“And melancholy is the nurse of frenzy.

Therefore they thought it good you hear a play

And frame your mind to mirth and merriment,

Which bars a thousand harms and lengthens life.”

            from The Taming of the Shrew

While there is no debate that William Shakespeare was involved in the theatrical world of London, there has been much and continuous speculation for five hundred years about whether William Shakespeare actually wrote the plays, any of them, attributed to William Shakespeare. Now that I have gobbled The Oxford Companion To Shakespeare, which prompted me to re-read The Taming of the Shrew and Hamlet, I have my own theory about who wrote the plays of William Shakespeare.

Those who argue that Will Shakespeare of Stratford-upon-Avon could not have writ the plays attributed to him ask: how could a man reputed to be one of the most prolific and learned writers in history not leave behind even a scrap of his plays and poetry in his own handwriting? Not a shred, not a line, not a tattered fragment of a tiny piece of a page in Shakespeare’s own hand survived even into the latter stages of his relatively short life, a time when various publishers and their agents were searching for such fragments from which to publish the plays! Why does Shakespeare’s last will and testament contain no directives regarding his plays and sonnets, or any mention of his writing at all, yet makes a fuss about who gets his second-best bed?

How could Shakespeare, at the height of his fame and influence, become so completely divorced from the London theatre scene, of which he was supposedly a massive pillar, and carry on with the wholly non-theatrical business ventures in Stratford-upon-Avon that apparently occupied him for his entire life? Why are there so few (virtually none) first or even secondhand descriptions of, or anecdotes about, Shakespeare, the actual person, by any of his contemporaries, literary or otherwise? And how can we explain that several of Shakespeare’s plays are set in Italy and nearly all his tragedies are set among royals and aristocrats, though Shakespeare never went abroad, his education was minimal, his children were illiterate, and the social milieu he occupied was that of the merchant class? From whence came his uncanny understanding of the ways and workings and subtleties of royalty, let alone his intimate knowledge of their histories?

What is irrefutable about the plays attributed to Shakespeare is that in the absence of original manuscripts, the extant texts are, without exception, collages of versions of those plays remembered by various actors who supposedly acted in those plays, which versions were written down and edited by several different men and different groups of men, and these written-down versions were then futzed with until deemed Close Enough by yet other men who then published the plays. The First Folio, entitled Mr. William Shakespeare’s Comedies, Histories, & Tragedies—the foundational texts—was published in 1623, and the Second Folio was published ten years later, for which the editors made…wait for it…several hundred changes to the text of the First Folio. Several hundred! What were these changes based on? No one knows.

Along with the third and fourth and possibly fifth-hand nature of the “original” plays, is the undeniable fact that virtually every production of these plays, both in Shakespeare’s time and for centuries thereafter, and continuing to this day, employ scripts that are either edited, rewritten or wholly reimagined versions of the so-called originals. Thus the plays of Shakespeare, whoever wrote them, have never been static works and have always been treated as foundational forms to be modified and interpreted by directors who, like jazz musicians, knowingly improvise on popular standards and feel perfectly justified in doing so.

My theory runs thusly: William Shakespeare, a savvy business guy, travels to London to do business, buys his way into an ambitious company of actors, and quickly figures out that the better and more timely the plays a troupe has the exclusive rights to perform, the more successful that troupe will be, which success can lead to royal dispensation to build and own theaters and profit handsomely therefrom. A shrewd dude with a good ear for dialogue, William collaborates with a few talented writers on an early success or two, among them The Taming of the Shrew, and thereafter becomes a literary fence, so to speak, through which numerous writers—struggling actors, aristocrats wishing to remain anonymous, and talented provincials having flings at glory—benefit from the public perception that their plays were written by the hottest playwright in town.

The facts, such as they are, do not contradict my theory that Shakespeare was a superlative merchant of ghost writers or possibly the front man for a syndicate of play brokers, which would explain the wide-ranging stylistic variations in his plays, the comedies perhaps worked over by the Elizabethan equivalent of the gang of comics who wrote for the late great Sid Caesar—Mel Brooks, Carl Reiner, and Woody Allen—the tragedies composed by brilliant and frustrated royals—latter day Gore Vidals—or persons associated with royalty.