Riding the Wind by Stephen Page

The story you are about to read is a work of fiction.

Riding the Wind

by Stephen Page

Quarto cover w Riding the Wind original copyJuan was driving his pick-up, I was on the passenger side, and Isabel was in the back seat. The stick shift rattled between Juan and me. Juan had met us at the international airport in Montevideo and was taking us to his farm near the sea, a vacation that Isabel had pestered me into taking after three months of rattling on about how nice it would be for me to finally visit her home country and meet her oldest and dearest friend. The first thing I had noticed about Juan’s truck, besides the winch on the back, was its dull, dark green color. The first thing Juan noticed about me, by the way he looked me up‑and‑down at the airport, was my clothes‑‑an Army jacket, Hawaiian shirt, blue jeans and white tennis shoes‑‑the same easy‑going style that Isabel always said a man in his late thirties was too old to wear.

The back seat was a small pad bolted to the front seats, and it was barely big enough for one adult, maybe two children, yet the way Isabel was sitting closer to Juan’s side of the cab, she made it look larger. She was leaning so that her left elbow was resting on the back of Juan’s seat, her forearm pressing against his shoulder. They spoke English at first, but when I tried to jump into the conversation, they fell into their native language, Spanish. I was just learning to speak Spanish, and had only memorized a few nouns and phrases. Isabel’s vocal tones rose and fell. Juan occasionally regarded me out of the corner of his eye and laughed.   I glared at Isabel. Blood rushed to my face. I turned and looked out the passenger side window and watched some cows as they looked dumbly at our passing vehicle. The long lines of trees used as windbreaks between the plots of farm land were losing the last of their brown, curling leaves. I felt the onset of a headache and squeezed my thighs with my hands, imagining I was holding onto someone’s throat.

When we arrived at Juan’s farm, I was still staring out the window. I had been thinking about the conversation that Isabel and I had a few months back, when she first told me about Juan. “He moved away from the city and settled on the land he inherited from his father,” she said. “Built his own house, with his own two hands. Bought a few cows and now he’s got a whole herd. Plowed up half of the land and planted beans, right before the bean market skyrocketed. Wait ‘til you see his house,” she said. “It’s beautiful. He works wonderfully with his hands.”

Juan’s house was finished on the outside with oak‑wood slats, and on the north side there was a spacious sun room faced in large rectangular glass panels. Inside, the sun room blended smoothly into the living room.   The furniture was rustic but rich‑‑large hand‑carved wooden furniture that reeked of Spanish colonialism. Above the fireplace, there was a painting of an elderly man who had a J.P. Morgan stare. At the bottom of the picture was a gold engraved plaque that read, Soltero Juan Ladrón de Guerra. “My Grandfather,” said Juan. On the mantel in front of and next to the painting was a bronze statue of a conquistador. Above a desk on the far side of the room was a coat of arms. Hanging on all the walls were horse whips and riding crops.

Juan said we could have his room upstairs, since it had a larger bed, and he would take the guest room at the end of the hallway under the stairs. While I set our suitcases in the bedroom, next to an antique four poster bed, I noticed Isabel casually take a candy from a jar on the nightstand.

Juan started to grill us lunch. “From one of my steers,” he said. “Cured by a neighbor of mine.”   He seared the slab of beef on a grill he had placed over the fireplace. Isabel went into the kitchen to get something, and Juan followed her, giving me instructions to “Keep an eye on the meat.” Instead, I followed them, trying to pick up a few words of their conversation. They glanced at me then back at each other.

We sat down at the kitchen table while Isabel and Juan kept yakking away in Spanish. Isabel sat between Juan and me, her body twisted in his direction as she spoke. My headache was turning into a full‑fledged migraine. Juan got up to check on the meat and Isabel got up to get the plates. I reached for the large wooden pepper shaker that sat in the middle of the table and felt the heft of its weight as Isabel laid out the plates.   She laid my plate last. “Why don’t you ever help?” she whispered at me.

Juan brought in the meat. “This is the cut we call ‘tapa,’” he said. “Do you want a cut from the large end, where it is tender and juicy, or do you want a cut from the small end where it is tough and hard, the part the real men eat.” Isabel watched for my reaction. Juan smiled at me. I narrowed my eyes and ordered a piece that the real men eat.   Even though they were still speaking Spanish, I could tell that the conversation had turned to the subject of Laura, Isabel’s daughter by a former marriage. Laura was an beautiful, agitated bundle of post‑adolescent hormones that deftly managed, at least once a day, to get either Isabel angry at me, or me angry at Isabel. She had elected to stay home with the housekeeper, cook, gardener, and private tutor to study for her college entrance exams while we went on vacation. I can’t say I was disappointed.

“Juan was there when Laura was born,” Isabel said in English.

“Yes. I called her the little princess,” Juan said.

“That’s exactly what I always say,” I exclaimed. “She’s like a princess. And Isabel is like a queen.”

“Where does that leave you?” Juan said. “Are you the servant?”

This time I looked at Isabel for her reaction. She was staring down at her plate, watching her knife cut through a fat piece of meat. Juan laughed. I glared at him and abruptly pushed myself from the table. I went outside and had a smoke on the back porch. This was going to be the last time, I thought to myself.

I noticed Juan had a barn a hundred feet or so from the house. Funny I hadn’t seen it when we came in, it being so obvious, mansion sized and faced flat cement gray with two immense bright green front doors. The doors were shut and high above them was an open hay‑loft window. I crushed my cigarette out with the sole of my shoe. Next to the front doors and leaning against the wall of the barn was a pitchfork. Just as I was going to walk over to it, Isabel came outside. She took my hand. “Let’s go take a nap,” she said.

“I’m not tired.”

“The bed is very big and comfortable,” she said, pressing her breasts into my arm, “And Juan has some errands to run. We have the entire afternoon to ourselves.”

I followed her back into the house. Juan was cleaning the fireplace as we went up the stairs. He watched Isabel’s backside as she walked in front of me.

When I woke up, I was alone. I opened the bedroom window and saw them walking toward the truck. They had their backs to me and Juan had his arm around her neck while Isabel rested her head upon his shoulder. They were walking slowly and Juan seemed to be speaking rather softly. I flew down the stairs and stepped out the back door just as they were arriving at the truck. I let the screen door slam shut.

“My love,” Isabel said as she skipped towards me. Her blouse was open to the fourth button. I stared intently at Juan. He was mocking me with his eyes.

“You are awake,” he said.

“Yes, I am. And it seems to be just in time.”

“Oh, you mean to come with us,” Isabel said. “We were just going to pick up Juan’s kids. They live only ten minutes away.”

“That’s okay,” Juan said. “I can go alone. There’s coffee on the fireplace if you want some.”   He got in his truck and drove off, the winch on the back rattling and bobbing back and forth.

“Love, are you okay? You have a terrible look on your face.”

I lit a cigarette. “Where were you going?”

“To pick up his kids, I told you.”

“Why didn’t you wake me?”

“You were sleeping so well. Besides, Juan needed to speak. He feels comfortable speaking to me. We’re old friends, you know that. He wanted to talk about his divorce. Hey, wait a minute, what are you insinuating?”   She put her hands on her hips. I could see her bra and cleavage.

“Why didn’t he invite both of us to go with him?”

“Because there are three kids and the cab would be full. You’re being ridiculous.” She slipped inside the back door. I stayed on the porch and finished my smoke. Then I went for a walk.

After a walk around the barn, where I noticed the front doors were padlocked, I went back inside the house. Isabel was lying on a hammock in the sun room. I poured myself a cup of coffee and sat on the sofa. She leaned over and looked at me. The back door opened and three kids piled in, howling and yelling. They ranged in ages from three to eight.

“Lets go to the beach,” Juan said.

“It’s almost winter,” I said. “Don’t you think it’s a bit nippy for a swim?”

“We’re not going to swim, just have a picnic. The waves are beautiful to see crashing on the shore this time of year. They’re about five or six feet tall.”

The kids were running around the house and jumping up and down on the sofa. “Isn’t it going to be crowded in the cab?” I asked.

“Well, I have a suggestion. Isabel says you like to ride motorcycles.” My mind escaped to thoughts of my Harley‑‑that red and white Knucklehead that occasionally freed me from the stagnation of my marriage. He continued, “Well, I have a motocross bike. You can follow us. If you wear a sweater under your coat you’ll be fine.”

The road was overgrown with grass, but if I stayed in the wheel ruts, it was easy to ride on. I actually started to feel good after a mile or two. The sun was out, the wind was in my face, the briskness of the air incredibly invigorating. I started singing a song by Steppenwolf. “Get your motor running, head out on the highway, looking for adventure, in what ever comes our way. . . Born to be wi‑ii‑ii‑ii‑ld.   Born to be . . .”

After a meal of chicken sandwiches and red wine, and an afternoon of watching the kids build sand castles, then watching the sand castles get destroyed by the crashing waves, we headed back. Since I knew the way, I ventured out in front of the truck. I lost sight of them over some rolling hills, but I didn’t care, I had my freedom again‑‑the open road, the scenery passing by, the wind combing my hair and caressing my body through my clothes. When I saw the house loom up ahead of me, I slowed down.   I looked over my shoulder. I slowed down some more. I stopped. I rode to the top of a knoll and scanned the road to the beach. The truck was nowhere to be seen. I rode all the way back to the beach. Nothing. I returned to the house at full throttle. When I arrived, the sun was setting.

Around midnight, I heard the truck pull up and the doors slam shut. I went to the back porch with my hand around the neck of a bottle of bourbon I had found in the kitchen.

“Mi amor, how are you?” Isabel asked me. “Sorry, we had a flat tire.” Her hair was mussed.

“I went back to find you.”

Juan interrupted, “Sorry Jim, we took a different route. To drop off the kids.”

I lit a cigarette.

“Let’s go to bed, love,” Isabel said to me. “It’s late.” She put her hand over mine, the one that gripped the whiskey bottle.

In the bedroom I confronted her. “Did the flat tire happen before or after you dropped off the kids?”

She looked at me condescendingly. “Your petty jealousies belittle you. You have no right to speak to me like that. Juan is my friend. Whatever fantasy you’ve concocted in your mind is purely fictional. Besides, you know how I feel about infidelity.”

“Yeah, I know how you feel about infidelity. The same way you always feel about it.   The way you feel about it every time we go on a vacation together. The way you feel about it every time we meet someone new. Even the way you feel about it with all of our friends back home.” She stormed out of the room. I picked up the jar of candy and smashed it on the floor.

I sat on the bed and looked at the grass stains on my tennis shoes. After a few moments, I got up, went down the stairs, through the living room, and into the kitchen. I couldn’t find Isabel or Juan, so I walked, quite quickly, under the stairs and into the hallway that led to the guest room. I found the door closed. I pressed my ear to the door. Silence. Too much silence. A light shone from under the door and onto my feet. A double shadow passed by the light. I grabbed the door knob and drove my shoulder into the door, bursting into the room.

No one was there. A window a few feet from the unmade bed was open a couple of inches and its curtain fluttered in the breeze. The lamp between the bed and the window was on and the curtain periodically passed in front of it.

I paused for a moment, then went through the kitchen and out the back door. The moon was full and the sky was clear, giving the outdoors the appearance of a silvery low‑lit day. I could see the hills I had ridden upon earlier that day. A cold wind was blowing. The wild grass in the field next to the house rippled in the breeze. The main doors to the barn stood slightly ajar, and I watched as a white owl circled the barn twice then entered through the hay‑loft window. I glanced at the pitchfork where now it leaned within arm’s reach against the side of the house. The truck, its exterior looking black and shiny, its chrome bumpers reflecting the moon, sat pointed in the direction of the road that led to the airport. The skin on the back of my neck burned and my scalp tingled as I stepped off the porch and walked up to the driver’s side. Its keys dangled brightly in the ignition. I looked again at the dark slit made by the opening of the barn doors, over at the pitchfork, around at the hills, the wild grass, the road. The wind picked up and whistled in my ears.

The Suspense of Loneliness cover

Riding the Wind, as published in Quarto

Riding the Wind, as anthologized in The Suspense of Loneliness

This is a work of fiction. All people, places, and events in the story are fictitious.

You can also find this story on a Quarto website on page 27

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Teaching Film Studies

Stephen Page Teaching Film Studies
Stephen Page Teaching Film Studies (this case, “Easy Rider.”)

Stephen Page: Portrait

Stephen Page Interviewed by Fox Chase Review

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Read an Stephen Page interview conducted by g emil reutter and  Diane Sahms-Guarnieri at FCR: https://foxchasereview.wordpress.com/2014/06/25/10-questions-for-stephen-page/ Diane Sahms-Guarnieri

10 Questions for Stephen Page

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Stephen Page is from Detroit, Michigan. He is the author ofThe Timbre of Sand and Still Dandelions. He holds two AA’s from Palomar College, a BA from Columbia University and an MFA from Bennington College. His critical essays have appeared regularly in the Buenos Aires Herald and the Fox Chase Review. He is the recipient of The Jess Cloud Memorial Prize, a Writer-in-Residence from the Montana Artists Refuge, a Full Fellowship from the Vermont Studio Center, an Imagination Grant from Cleveland State University, and an Arvon Foundation Ltd. Grant. . You can find him at:http://stephenmpage.wordpress.com/.  His poetry appears in The Fox Chase Review at these links: http://www.foxchasereview.org/12SU/StephenPage.html  and http://www.foxchasereview.org/11WS/StephenPage.html

Interview with g emil reutter

The Interview 

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GER: So how does a guy from Detroit end up becoming a cattle rancher in Argentina?

SP: Well, I’m not ranching anymore. I was. Loved it. That part of my life is temporarily over.  I will tell you, however, how I came to Argentina.  The story started when I was a child. Some of my earliest happy memories are of my family vacations. Several times, all summer long, my family would pile in the station wagon and head out on the road.  We would take about twenty short vacations a year.  Sometimes just for the weekend.  We would head up north in Michigan, or down to Florida, or Ohio, West Virginia, Kentucky, North Carolina.  Mostly visiting family.  I loved the feeling of being on the road.  Nothing behind you, only that which is ahead of you—Kerouac said something like that.  I loved looking at the scenery as it passed by.  Most of my extended family lived in rural or sparsely populated nature-filled areas. I remember farmland, lakes, rivers, large patches of woodlands. I loved walking for miles on dirt roads, along animal trails, trudging through swamps, crossing rivers, swimming across lakes. My parents were good caretakers, and I feel lucky that they gave me such an adventurous childhood. I also had two good-natured sisters who were easy-going travelling companions.

            When I was fifteen or so, I ran away from home (not to escape anything in particular, at least nothing I could conceive at that age).  I was walking home after visiting a friend’s house and I got this idea in my head to go somewhere, anywhere . . . no definite destination in mind, just go.  As the sun was setting I was standing on the side of I-75, watching the smokestacks of factories turn yellow then orange then red, and I stuck out my thumb.  I didn’t get very far, only down to Cincinnati, when I realized I was hungry.  I crossed the highway divider and hitchhiked back home.  I slipped the key into the lock on the front door of my home as the sun was rising.

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As a young man, with my driver’s license, every Friday when I had my weekly cash pay stuffed in my pocket, I would jump in my car and drive, sometimes to visit family, sometime just to be “out there.” Away.  Gone.  Free.  Traveling is like having wings, even in a car. I really found my wings when I bought my Harley. Riding a Harley has no other feeling like it in this world. It has a distinct vibration and rumble. On an open road, with no traffic, there is just you, the bike, the wind, and the scenery around you. You have a panoramic view of your surroundings—especially if you ride without a helmet (kids, please don’t do that!). 

Once, I had a union job, cutting steel, and after I worked there for one year, the foreman came up to me on a Friday afternoon, and said, “You,” he paused, looking me in the eye, then pointing at me with a greasy finger, “are on vacation.” “What?” I asked, thinking I was fired. “You get a week’s paid vacation for your first year on this job. We need you to take the time now while the work is slow.”  “Thanks,” I muttered, thinking ‘where will I go, what will I do?’  That night I fell asleep watching a movie called Easy Rider. I woke up early the next morning and packed a sleeping bag and some clothes in a sea bag my cousin J had given me, threw the bag over my shoulder, and headed out the door. As I was stepping off the front porch, my cousin T (who was sharing rent with me in an old farm house on the edges of Detroit) asked, “where are you going?”  “To New Orleans.” “How will you get there?” “I don’t know, I guess I’ll hitchhike (I was in-between owning vehicles at the time) . . . Or maybe I’ll go downtown to the bus terminal and take a bus.” She looked at me and smiled, then said, “At least let me drive you to the station.”  So, I ended up hanging out on Bourbon Street for a couple of nights, seeing the Rolling Stones play live, taking a train up to Jackson, Mississippi, then hitchhiking though Arkansas, Texas, north to Colorado, onto North Dakota, then turning east to back towards Detroit.  I arrived home Sunday evening, eight and a half days later, just in time to eat dinner, sleep a bit, wake up early the next morning and go back to work.  I took a lot of trips like that, either hitchhiking, in my car, or on my bike—I was always travelling, going somewhere, anywhere, just away, on my way to “There. There. Somewhere. Anywhere but here.”

After a few years of factory jobs, 7-11 midnight shifts, gas-station jobs, bowling-alley jobs, landscaping jobs, restaurant jobs—I decided I had to leave the Detroit scene.  Get away. Far, far away.  I landed a job that allowed me globe-circling travel. Out of seven years in this occupation, I spent fifty-two months overseas. Man, I saw a lot of the world. I ended up one day in Kenya, on a photo safari, and inside the same tour bus I was in was this exotic green-eyed goddess of a women. I noticed that every time I looked at her, she was looking at me, and every time she looked at me, I was looking at her.  We fell in love. She was, and is, Argentine.  Here I am.

GER: You have said that teaching is a passion of yours. Tell us why and how the interaction with students contributes to your own development as a writer?

SP:  I love teaching because it is a way of sharing, sharing knowledge, a way of helping others.  The best way teaching literature helped my development as a writer was that I was able to restudy the masters, analyze good writing and show others how to read well. To read carefully. To “read,” not just read. To understand the techniques of literature the masters use and/or used well—i.e. foreshadowing, metaphor, symbolism . . . saying something without saying something. 

stephen-out-reading-on-ranchGER: Many have said writing is a lonely art. You have said you have experienced bouts of isolation.  How do you break out from these bouts?

SP:  Most writers write in a room with the door closed, the phone turned off. I do. If a writer has to write in a room with family around, the writer usually has a spouse, family member, friend, or an employee take care of the family while he or she writes. Some writers write in a café. I also do that often. I know a few cafés that have vibrant creative energy and when I sit down at a table and lean over my journal or computer to write, the conversations of the other patrons just become white noise. In a sense, all writing is done in isolation. A writer has to know this, be ready for it, and, in some cases, have a disposition that does not mind being alone with itself for a while. I break out of my bouts of isolation by having an understanding wife, a circle of friends, and an extended family who understand my need to be alone a while and are always there for me when I open my (metaphorical and literal) door to socialize.  

stilldandelionsbookcoverphotosmall-copytimbreGER: You have published two collections,Timbre of Sand and Still Dandelions. Share with us the development of the collections?

SP:  My first collection of poems, The Timbre of Sand, was inspired by the exotic green-eyed woman, and started with my first love letters to her, after the safari was over.  I wrote those letters while I was still traveling around for my employers and she was living in Argentina.  About a year after the safari, I resigned from my travel-required occupation, moved to Argentina, and started to attend college. At university, I realized I loved literature and writing so much I made that my major, and I started to write short stories and poems.  Then, one day, I was skimming over some of the early letters I wrote my wife (by then we were living together and shared rings) and I realized the epistolaries had poetic potential. I started a collection of poems dedicated to her, and as I began it I thought, ‘what better love poem is there than a sonnet.’  So I started a collection of sonnets. But being a bit of an originally minded rebellious person, I decided to contemporize the sonnet. I kept the line relations, the stanzas, the meter, the assonance, alliteration, and internal rhyme that Shakespearian and Petrarchan sonnets have, but I eliminated the end rhyme (or at least freed my self of having to end rhyme).  I had a few of them published separately in small presses, and then a small publisher in NY picked them up and printed them as a book.

My second collection of poems, Still Dandelions, was inspired by my love for nature. Even as a child, on my vacations and short trips with my family, I felt a oneness with nature, a connection to it all, a passageway through nature to the beyond, the Universe, the Everything, the One.  I lived in New York for a while and was lucky enough to live near a park that was spread out over hundreds of square acres. It had trails leading through the trees, up and down hills, down to the Hudson.  There was a garden in the center of the park that was tended year-round by city employees, so if there was a mild winter, some plant or another was in bloom all year round. If there was a harsh winter, something was in bloom at least ten months of the year. The garden attracted bees, other insects, birds.  And the woodland always had some miracle of life happening, even in winter—lichen growing, moss, early tree buds, cardinals and sparrows gathering in groups on the snow, a squirrel leaping about to dig where it hid a nut last autumn, a hawk or eagle gliding around then swooping low, looking for a meal.  There was the bite of the cold, the rush of a snow flurry, the pelting of hail on my face. There was also the singing of birds in spring, the green-skied vortex of an approaching storm, the stinging rain, the wilting heat of summer, the sawing of the cicada, the myriad-color leaves of autumn. I started a collection of poems about nature, the oneness I felt with it, and I thought, ‘what better way to share this oneness I feel than to honor Bash­o and write a collection of haiku.’ I took some liberties with the form to make it my own, but in doing so, as I did with the sonnets, I realized that writing in form is an act of discipline that all writers should learn in order to become original later. A good haiku is not an easy thing to master and takes a bit of practice.  A great haiku is even harder to master.  “A haiku is, or a haiku isn’t,” I think Kerouac or Snyder said.  A haiku is not just a 5-7-5 syllabic poem (the English version of a haiku).  If anyone would like to acquire a better understanding of haiku, I recommend reading Haiku Moment, edited by Bruce Ross.  A haiku captures the Oneness, the feeling of connection to the natural world . . . it could happen while hearing a flap of a birdwing, a bee buzzing by.  A haiku captures this moment of oneness with the world, the loss of the self—and this usually happens in a second, or even less.  The epiphany comes immediately afterwards—and if the experiencer of the Oneness is a writer, he or she writes the experience down in a concise form (to coincide with the briefness of the “moment”) in order to remember it and share it with readers. There again, like my first book, I had many of the poems published separately in lit mags, then another small publisher in NY printed the collection as a book.

GER: Your literary criticisms have appeared in many publications, including here at FCR. What inspired you on this course and what are the benefits to you as a writer?

SP:  That goes back to when I was child again. Another one of my earliest memories is that of reading. I read a lot while I was growing up. I would often share books, Dr. Seuss and such, with friends and family. We would discuss the passages and rhymes and meaning (I didn’t realize this was analysis at the time).  As a teenager I was always deciphering Rock-and-Roll lyrics with friends—what does that object in that song signify, what is the double meaning in this word, how does the title coincide with the content, how many symbols are in that that stanza and why are they there? Then as a literature/writing student at Palomar College, Columbia University, and Bennington College, I was able to employ my love of analysis and set my thoughts on paper. This love of analysis benefited me as a writer because I was again, like in teaching later, able to understand how the great writers used, and use, techniques of literature. 

GER: You have read your poetry at various venues in Argentina. How important is it for you to read your work in public and what affect does it have on your writing?

SP:  I stared a writing group almost as soon as I arrived in Argentina. I thought it would be a good way to help writers help each other. We read our stuff aloud to each other.  Later I started a poetry reading group, as a means of sharing literature with others.  Once I was invited to read my poems aloud at an annual Buenos Aires International Book Fair.  Reading a book alone is a solitary pleasure, a gift from the writer to the reader one book at a time.  Reading aloud to an audience is a public event, a gift shared with more than one person in linear time.  I discovered by reading my own stuff aloud, especially while I practiced reading aloud to myself, I caught the glitches in the lines, the skips in the meter, the loss of the music I thought was there.  Thus, by reading aloud, or preparing to read aloud, I was better able to edit my work.

Stephen Page reading at the Ernesto Sabato Foundation  https://www.youtube.com/watch?v=3b-5YrHXe-U

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GER: Your fiction and poetry have appeared widely in the small and electronic press. How do you deal with the submission process and how important is to you as a writer to be published?

SP:  Writing and submitting are two completely different processes. They use different halves of the brain, different sections of the cortex. Synapses fire differently.  In one process you are a creator—in the other you are a publicist, a promoter, a hand shaker, a delver, a researcher. Every writer should be able to have a secretary edit, another to submit, a publisher, and a promoter to get the work known.  That way the writer could spend all of his or her time on his or her writing.  Use the cerebrum only for creating.  Anyone in any one of the arts may draw parallels with this. Currently, with the revolution of eBooks, many writers need not only to be a creator, they need to be their own editor, their own publicist, and in many cases, their own publisher.  In any event, I handle the submission process by dividing part of my “writing” time each day into parts—part for creating, part for editing, and part for submitting.

Writing is immensely more important to me than publishing. Writing is the part I love, the fun part, the part I want to do—the part I need to do.  Publishing, however, is a pat on my back, and it is one way I can share with others.  I do love sharing.

StephenPage (1)GER: You have said you turn to Gary Snyder for inspiration. Tell us why and what other writers inspire your work?

SP:  Yes, I turn to Gary Snyder because of his love of travel and his love of nature, (which I can relate to). I also admire his ability to write well. Snyder spent years meditating in Asia and studying Oriental forms of poetry. Judging by his writing, I think he felt the Oneness, the losing of the self that I feel. I often turn to Mary Oliver and Louise Glück for that same reason—for their apparent awareness of the Oneness (and for their quality of writing). I also turn to other writers and reread their books once in a while because they write well and capture the drama of human interaction, the strife of life, the struggles of relations and love—like Neruda, Cross, Hemingway, Machado, Vallejo, Borges, Plath.

GER: You have quoted Matthew Arnold, “Life is not having or getting, but of being and becoming”. Why this quote and can you expand upon it?

SP:  It is easy to become a materialist.  Materialism is something innate in all of us and is developed one way or the other depending on our socialization. Historically, we humans—modern Homo sapiens and early humanoids—especially in societies or groups, have almost always measured success by what we own, be it property, possessions, exchange (or even worse, other human beings). What we have or what we are getting—even when we were hunter-gatherers and vying over territory (not just for survival but to feel that a section of land is ours).

Today, we are brought up in a consumeristic world. We are driven, from the time we are children, to want to have things, to get more, to buy a new football, a new jump rope, a new car every year, a superfluous piece of jewelry . . . to be rich, to live in a big house, to own land, to wear new clothes styled in the latest fashion. More often than not we are striving to own more than what we need to survive healthily.  I think Sixto Rodriguez said it best when he sang, “You measure your wealth by the things that you hold . . .”

Very few people are taught to seek spirituality, and not just religion, which is societally subjectivized (and there is nothing wrong with religion)—I mean pureness of the soul (if that is what you want to call it, a “soul”—this experience we all have of existence). Not the egotistical sense of existence—the I—but the Oneness. Not many people are taught too meditate, to walk alone in the woods—or participate in any other method that allows zoning into the Oneness.  We, as adults, should work harder at teaching children how to be One with the Universe (the universe as we currently imagine it).  We need to teach our children respect for land and nature, not only for their spiritual health, but also for their physical health.  We also need to teach the kids how to be better people, how to share, how to be good to others, how to be calm in stressful situations.  We need teach them to be rich in spirit, generosity, and kindness.

As for each of ourselves, we need to make conscious efforts every day to become a better person than we were the day before, a better human being, a more humane entity that functions well in society and becomes one with the One.

StephenPage

GER: What projects are you currently working on?

SP: Oh, I have at least 10 projects I am working on.  Some are stories and some are poems I am compiling or fitting together into meaningful, coherent collections. Some are separate pieces of writing I am editing. Also, I am writing a new book

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April 12, 2014 007-g emil reutter lives and writes in the Fox Chase neighborhood of Philadelphia, Pa. (USA)

http://gereutter.wordpress.com/

 

 

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