Living in More Than One World

300 Words With is a new, semi-regular feature on my blog, in which I interview people I admire, especially those who exemplify the spirit of living in more than one world. Their responses are (in the range of) 300 words. Today’s interviewee is the artist/writer/musician/NPR radio commentator David Greenberger, who also has done innovative work with the elderly. I knew David back in my music writing/selling days in the late seventies and early eighties, and then lost touch with him until becoming reconnected earlier this year on Facebook.

1. Can you briefly describe your life’s professional journey so far, including Duplex Planet and your art?

Duplex Planet is my art, or one aspect of it. I won’t take up the limited word space here to describe it, but will say that I started out as a painter – art school, showings, the whole thing – and after I created the earliest issues of the periodical in 1979, I purposefully set aside painting a year or so later so that I could truly allow this other medium to become my voice. That said, for the past half decade, I’ve returned to visual art as well (though there are also visual components in The Duplex Planet) and it picks up around where I left off thirty years ago. For the past 15 years I’ve been most interested in the creation of monologues with music, further abstracting the underlying source material to make for a more universal, less documentary-specific focus.

2. Has music been a running thread through your personal and professional life, and if so, in what ways?

Music has been a constant since I was ten or eleven years old. I’ve always been nourished by hearing something new, as well as finding new in the familiar. I played bass guitar in bands in my hometown of Erie, PA, through high school and into college. I returned to performing when I lived in Boston and formed a band called Men & Volts. We did five albums and numerous other releases over the course of the eighties. Putting together an issue of The Duplex Planet has always been like assembling an album: the rhythmic flow, the juxtapositions, the slow reveal. My recordings and performances now – monologues with music – I liken to a band with a guy (me) talking.

3. What non-work activities do you find particularly meaningful in your life?

As an artist, I find very little divide between my daily endeavors and the notion of work. They are the same; they are who I am and what I do. That said, stepping away from the various processes is necessary for the growth and integrity of the art. So there are friends, the aesthetic pleasures of food, film, literature and every other medium, to baffle, amuse, delight and enrich.

“300 Words With…” is a new, semi-regular feature on my blog, in which I interview people I admire, especially those who exemplify the spirit of living in more than one world. The featured person today is Tim Wendel, who is the author of eight books, writes for a number of great publications and teaches fiction and nonfiction writing at Johns Hopkins University. I’ve known Tim since our days as colleagues at USA TODAY.

1. You have quite a varied career; writing and teaching both fiction and nonfiction. Do these activities require different mindsets and mental/emotional adjustments?

The line is much finer than some would think. The key to any quality narrative, fiction or nonfiction, often hinges upon characters, setting, plot, etc. Certainly nonfiction pieces require more attention to detail and truth. That’s why I always fact-check those stories. Still, Joseph Conrad was once asked what the key was to quality writing. His reply? “If I can make you see.” In essence, the scenes or people I have in my mind I offer to you through my writing. When it works we’re dreaming the same dream, in a way. That’s when the writing becomes so enthralling that you miss your subway stop or you stay up past your bedtime, still reading away. That only happens with great characters and memorable situations, regardless of what form we’re working in.

2. Since the earliest days when you added being an author to your work in journalism, how has your life changed, in a day-to-day sense and otherwise?

I used to write much more at night. I think raising two kids drove that out of me. Now I’m older and I find my best time to write is in the morning. I’ll have a quick bite to eat and then start working. When you’re working on a longer work, you need to focus on it a little bit each day. If not, the characters or concerns don’t rattle around in your head enough. At least not for me. Finding the time can be a concern. I wrote my first novel, Castro’s Curveball, on the D.C. Metro [subway]. That’s all the time I had back then, but it all adds up if you stay with it.

3. What non-work/non-writing activities do you find particularly meaningful in your life?

Now that I’m in my 50s, I realize how important it is to stay in shape. I run with a local group most Friday mornings. I also do other classes, as much for the friendship as the fitness. Writing can be a lonely occupation, so we need to find people we can talk things out with. I’ve been meditating and I’ve read a lot of spiritual texts, everything from Gnostic Gospels to Joseph Campbell. And, finally, family is important to me. I never expected to learn as much from raising my two kids as I have. It made me vulnerable and open in a way that I didn’t expect. Which made me a better writer and perhaps a person more receptive to the world in general.

A new, semi-regular feature begins on my blog today: “300 Words With…” I’ll be interviewing people I admire, especially those who exemplify the spirit of living in more than one world. Their responses will be (in the range of) 300 words. The first person is Tom Butler-Bowdon, who has written the excellent 50 Classics series of books; on self-help, success, psychology, spirituality and prosperity. In the past, I wrote about and interviewed him for USA TODAY.
1.    In what ways (day-to-day and otherwise) has your life changed in the years since your first book was published?

It was important because I could start to see myself as a proper writer, and work towards writing full time, which didn’t happen until a couple of years after. I thought my book would ‘set me up’ in terms of a career, but in fact it was just the first step. I had to write four more books before people really began to see me as an authority in the personal development area. Every day I do what I love, whereas before, although my career as a political and policy adviser was exciting, it was never fully ‘me’.  Now, there is really no limit to what is possible if I keep at it.

2.    You excel at synthesizing large amounts of information succinctly, and in a reader-friendly way. Any tips on how people can accomplish this in their own work?

Because I have had to read, absorb and write about so many books with my 50 Classics series, people always assume I am a speed reader. Actually, I don’t do this and in fact read every word carefully of the first few chapters. I believe that if you give a book this sort of respect, you will truly ‘get’ it. Once you have the essence, you can write about it comparatively easily. Trying to summarize from the first page in a machine-like way is difficult and a drudge, whereas the act of synthesis is basically exercising your natural insight and judgment.

3.   What non-work/non-writing activities do you find particularly meaningful in your life?

I enjoy cycling, running, swimming, spending time in nature and with my daughter. Beyond these things that have the power to refresh, what gives me real insight and peace is spiritual practice. This includes meditation (I usually attend a Buddhist group each week), and purposively giving up my day to God. That may sound wacky to a non-believer, but giving control to a Higher Power gives you great clarity and direction. You are like a pen in the hand of the real writer. I also read a range of spiritual literature; everything from Christian theology, such as Rick Warren, to New Thought writers including Catherine Ponder, to Eastern traditions and the Kabbalah. I feel it doesn’t matter where you get your inspiration as long as you get it on a daily basis.