Obviously I didn’t write this.I would be embarrassed to say this much nice stuff about me, but I have to admit I’m kind of delighted. In the midst of the craziness of my life, all of a sudden I’m getting wonderful reviews of the book I’d pretty much given up on. It never went anywhere. I’m not even sure I know how to find my publication website … or have any idea what my password is. Or anything.
If nothing else, it’s humbling that there can be such a huge disparity between my perception of the book I wrote and other people’s view of it. That I might not be the best judge of my work goes without saying … but to be 180 degrees out of alignment forces me to wonder what else I’m completely wrong about.
In any case, I have taken the liberty of copying and pasting the review here because I have no idea how one reblogs a review that isn’t on a blog. And this is on the Canadian Amazon site, making it even more inaccessible. The title of the book is also a live link to the source, so please visit that site too. The author deserves your support.
I’m beyond grateful for this review. I’m touched and encouraged. This is a difficult time for me, for obvious reasons. Having something so nice happen right now makes me feel (sorry about the pun) heartened.
5.0 out of 5 stars
The fascinating construction of a life Jan. 30 2014
By Jiibo Dyallo
Format: Kindle Edition | Amazon Verified Purchase
Marilyn Armstrong is a widely read blogger on WordPress, and that’s how I became aware of her. I thought, ‘anyone who writes this well must have written at least one book.’ The 12-foot Teepee, in fact, is the name of the book and the basis of the blog’s URL, teepee12 dot com.
Tempus fugit, especially for daily bloggers. Marilyn tells me, in correspondence, that she’s no longer quite the same person as the one who wrote the book. As a former resident of Jerusalem, though, she says she once lived near a place where archaeologists found “a Canaanite temple, on top of which (pillar on pillar) stood a Greek temple. On top of which (pillar on pillar) was a Roman temple. On top of which was – you guessed it, pillar on pillar – a synagogue.” No doubt today’s Marilyn stands pillar on pillar on the one who wrote this book, and I think that that keeps the book current. A life contains its own archaeology, and what is an autobiography (as I assume this is, in essence) if not a tell?
Protagonist ‘Maggie,’ as a child, was sexually abused by her father. That revelation is how the book begins. I worked for an LGBT newspaper in the 1980s and kept current on feminist and lesbian literature during the period when the magnitude of familial incest was first being disclosed to the world. I’ve read many dozens of accounts – brief, elongated, literary, plain, agonized, detached – by people who endured this experience. Also, I’ve read numerous complex bestsellers embedding the theme, such as Margaret Atwood’s The Blind Assassin and Anne-Marie MacDonald’s Fall on Your Knees. I noticed right away that Marilyn was somehow overcoming the saturation factor and writing highly readable text. Perhaps it was her style of writing – plainspoken enough to be nodded at by Hemingway, yet subtly full of craft. Her approach was fresh, and witty at appropriate moments. Perhaps there was some engaging mystery, too, in the enigma of her father as an inconspicuously, but almost incomprehensibly, evil man. I’m not sure if I would even have credited Marilyn with restraining herself from exaggeration if I hadn’t read M. Scott Peck’s monograph on such folk, People of the Lie. I knew that such individuals really do exist. In any case, Marilyn’s way of telling the tale with judicious truth but without a show of anguish, and without the jargon that is now often used in such accounts, made the difficult events completely readable.
The book then progressed through subtly interwoven anecdotes to the unveiling of related tales: the construction of a knock-off Sioux-style teepee as a project for self-healing and for spending quality time with a lively granddaughter; the concurrent battle with spinal problems and surgeons of greater and lesser competence; and the challenges of new-found poverty for Massachusetts people caught up in the tech bust of the 1990s. This all sounds daunting, not to mention rather random and terribly personal, but Marilyn makes it as vivid and coherent a piece of writing as you will find anywhere. She wins your heart. The feeling that you want things to go well for her (I don’t know her personally at all apart from a couple of emails back and forth among fellow bloggers) turns out to be a waterslide of suspense that runs you right through the book from beginning to end. She also integrates a spiritual journey from secular Judaism into Christianity that is neither dwelt upon nor glossed over – it has its time and place in the story – and it also arouses interest – regardless, I should think, of the personal persuasion of the reader. The bottom line, though, is that Marilyn is a writer who can captivate you with a tale of how her son pieced together PVC pipe sections to make wobbly teepee poles. I can’t imagine what topic she couldn’t make interesting.
I think that this book deserves more attention than it’s had. Marilyn is not sure that it does – she says in her email that she has, to some extent, returned to religious skepticism in recent years. Life has gone on. The tell has mounded up further. Where a church once stood in her psyche, a big community teepee for comparative religion and degrees of religious belief now stands, pole on pillar. Its architecture is newer than the book.
If you have a sense of discovery, though, you still need to know how it got there, and this book is the only dig that’s been done.
One day on the river, the light was just right. The strange undulations are actually reflections of trees along the shore, shadows and light in the moving river water.
Usually when I switch templates I do it because I’m in the mood for change. This time, I had to change after my site went all wonky. The main text font turned pale — nearly invisible — silver and I couldn’t get it back to black. When I realized I couldn’t fix it, I migrated into SUITS. It is similar enough to ZOREN so migration was simple and quick.
SUITS solved my immediate problem. My text was black again and it looked pretty good. No need for major surgery. But the main column is narrow compared to ZOREN — not photo-friendly — and I decided I didn’t like the way the header image displayed. I returned to ABLE, a theme I used for months before ZOREN.
If you go back to a theme you’ve previously used, it usually remembers your settings and header images. ABLE remembered me, so it was painless. One click and it was a done deal. It picked up all my recent changes too. Like coming home.
A lot of folks go into a tailspin when they decide to change templates. Yet it’s easy. If you understand what elements you use, what elements you need, all you have to do is pick a template that has those same elements, preferably arranged in a similar way.
For example ZOREN is very much like ABLE. It lets you use a full size image in the header and it’s a wide format. It includes a bunch of different post formats and is widget-ready. Flexible and good for photographs, but also attractive for text — until it went bonkers yesterday. I’d have stayed with it otherwise.
ABLE has the same basic design. I put the sidebar on the left since ABLE lets you put the sidebar left or right. ZOREN, SUITS and ABLE all use the same layout. Only decorative elements and proportions are different. As soon as a new theme is active, I can customize it: change the header, modify colors and fonts because I have the customization package. But even if you don’t, you can make small adjustments to make it uniquely yours.
I made the initial switch from ZOREN to SUITS in about 2 minutes using a slightly broken laptop while I was in bed. Really. In bed. In my jammies. And I still had time to read before lights out. I switched to ABLE today and it took me literally a single click.
Changing templates doesn’t need to be scary. Pay attention to what elements comprise your site. Decide what’s important to you and what’s not. Pick a template that has the features you want. Use the preview to see how it will look. Too narrow? Don’t like the way your photos display? Too wide? Don’t like the way text looks?
Preview a different theme. I’ve sometimes tried a dozen or more before I find one I really like. I wasn’t particularly picky last night because I needed an instant fix. Fortunately, SUITS worked.
What elements are important to me?
- It must be wide enough to display photographs well. Pictures are important.
- The fonts have to be easily readable, with good spaces. Never white or light on black — too hard on the eyes. I’m too old to squint.
- The page must show at least 50% white space. White space includes empty margins, line spacing, column spacing, empty areas around the header and pictures. Any space that does not contain graphics or text is white space, no matter what color it is. Without adequate white space, your site will be cluttered, hard to read and many people will find it annoying — but may not know why.
- I prefer a header which lets me use a picture, but I’m flexible about that.
- I prefer a left-hand sidebar, but can live with one on the right if the main column is wide enough. We read left to right, so I like to have my important stuff on the right side of the page. Note: Right hand pages cost more when you are buying print advertising for this reason.
- I want my widgets in a sidebar. Therefore, I can’t use any of the single-column templates, some of which are otherwise very attractive. I also won’t use any of the magazine-style multi-column templates. They are too busy. Clean and easy on the eyes are my goals. Also, multi-column themes don’t display photographs the way I like.
- I want a low maintenance format. Intense graphical formats require a lot of tweaking and tuning. They are prone to inexplicable glitches. I don’t have time to diddle with formatting nor do have I enough interest in the technical aspects of blogging to devote myself to the care and maintenance of a fussy design.
You need to know yourself. What you like, what you want, what you need. Keep an image in your mind of how you want your blog to look. Don’t get distracted by every pretty face you see. I’ve found the more complicated the template, the more problems it develops. There are more than enough glitches without adding more.
Following are some of the other templates I’ve used successfully. The differences are fewer than their similarities. Look past colors and decorations to the structure. If you’re tired of your template, not really thrilled with the way your site looks and you’d like a facelift, consider a new template. It needn’t be a difficult process of rebuilding. Pick one that has the same shape and elements you already use — and want to keep. Then do a some previewing and see if you like it. Next? Just do it.
Voila. A whole new look!
Dhalgren by Samuel R. Delany
Open Road Integrated Media
Publication Date: January 7, 2014
In The Recombinant City, A Foreward, William Gibson says of Dhalgren:
It is a literary singularity … a work of sustained conceptual daring, executed by the most remarkable prose stylist to have emerged from the culture of American science fiction.
I have never understood it. I have sometimes felt that I partially understood it, or that I was nearing the verge of understanding it. This has never caused me the least discomfort, or interfered in any way with my pleasure in the text.
It caused me discomfort. A lot.
Maybe if I’d read Dhalgren in 1975, I’d have liked it more. I was 28, part of the youth culture, active politically and close enough to my college days that Dhalgren would have resonated and had context. But that was nearly 40 years ago. The world and I have come a long way since then.
When Dhalgren was originally published, I didn’t read it. I was working, taking care of my son, possibly too stoned to focus on a page. It was like that. Back then. Hey, how old are you? Have you qualified for Social Security? Almost there? Minimally, you have your AARP card? If not, you probably won’t understand this novel — and even if you are old enough to have been there back when, you may find — as I did — that the time for this book has passed.
To use an analogy, I read Thomas Wolf’s Look Homeward Angel when I was 14. I adored it. Pure poetry end to end. Five years later, you couldn’t have paid me to read it. The story was perfect for an adolescent trying to grow up in a world that didn’t understand her but was irrelevant to a young, married woman in the suburbs. Context counts.
The writing is beautiful and the analogy to Wolfe not accidental. Like Wolfe, Samuel Delaney wrote prose that is pure poetry, rich with symbolism. Nonetheless, this isn’t a book I would have chosen at this point in my life. I might have loved it at a different age and stage.
The story centers on a bunch of kids in a city called Bellona in which something very strange and evil occurred. Exactly what? Well, something. The TV, radio and telephones don’t work. Signals don’t work. People have reverted to a sort of feral hunting society, in an urban way. The Kid (whose name may or may not be Kidd) comes down from the mountain. He meets other kids. They talk about stuff. Poetry. People. Random events. Think Thomas Wolfe on purple haze with a beer chaser. Beautiful words, haunting images. Poetry that never ends and a plot that never begins.
The publisher puts it this way:
In Dhalgren, perhaps one of the most profound and bestselling science fiction novels of all time, Samuel R. Delany has produced a novel “to stand with the best American fiction of the 1970s” (Jonathan Lethem).
Bellona is a city at the dead center of the United States. Something has happened there…. The population has fled. Madmen and criminals wander the streets. Strange portents appear in the cloud-covered sky. And into this disaster zone comes a young man–poet, lover, and adventurer–known only as the Kid. Tackling questions of race, gender, and sexuality, Dhalgren is a literary marvel and groundbreaking work of American magical realism.
It may be all those things and I’m not sufficiently intellectual or appreciative of art to enjoy it. After the first couple of hundred pages, I found it meandering and more than a bit pretentious. But to be fair, it’s a matter of taste. I have friends who really liked James Joyce and actually read Ulysses, not the Cliff Notes. Go figure, right?
This edition includes a foreword by William Gibson as well as a new illustrated biography of Samuel Delaney.
Dhalgren is available in paperback, hardcover and Kindle.
We have what I believe is the world’s most interesting car dealership. On Route 16 in nearby Mendon, it began as one dealership. Chrysler. Two more have since been added. There’s also the Miss Mendon diner, a restored Worcester dining car. A coffee shop, gas station, outdoor grill , snack bar and gift shop. And much more.
And art. Pop art. Life-size figures of Elvis, The Blues Brothers. Old gasoline pumps and other car-related stuff. David Ortiz’ torn jersey from the 2013 World Series. A car wash (the only good one in the valley) and a variety of stores and at least one doctor’s office.
It hosts the largest car show in New England … and you can also buy a car while you are there. Or a truck. Personally, I want a truck. We could take everything we own everywhere we go. We would never not have enough trunk space and little buzzy cars would stop bullying us.
As the sun rises over a beach in Maine, it’s the beginning of a new day for a lone black-backed gull.
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It’s a tiny church hidden behind houses in Amherst. If you don’t know to look, you would never find it. About the size of my living room and dining room combined, the cross on top is a bit crooked. Such a small church, such a long history.
The Goodwin Memorial African Methodist Episcopal Zion Church is a historic church on Woodside Avenue in Amherst, Massachusetts.
The church, built in 1910, is located down a narrow lane in the otherwise residential neighborhood. It is about 25 feet by 50 feet, styled in the Craftsman style popular at the time of its construction. It remains essentially the same since being built.
The church is named for Moses Goodwin, a local resident and parishioner. It was the second building for the African-American congregation that occupies it. The first — built in 1869 on a nearby lot — was demolished in 1917. It continues to be a social and religious center for Amherst’s African-American community.
Zion Church was added to the National Register of Historic Places in 2000.