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FEATURED MYSTIC BOXER

LYNN ROGERS, M.A.

Featured Mystic Boxer:

Lynn Rogers interviewed by Daniel Yaryan

1. (DY): What were the earliest influences on your creativity?

(LR): The earliest influences on my creativity were opportunities my Bohemian (part Czech ancestry) mother offered me as a child: getting rid of coloring books and bringing rolls of butcher paper and paint, letting me run around in back yard mud and later, swirl expressively in community free form dance sessions. I didn’t have to be the constrained neat and tidy girl but could make messes and express myself. Later when I wrote poems in elementary school that the staff thought a child could not create, my mother went to bat and let them know they were not plagiarized, but my own. Subsequently as a verbally gifted child I was made the leads in school plays and led Christmas singing; out of schooI, I climbed trees and chain link fences, hanging upside down on the boy neighbor’s roof I could see into the cub scout meeting. In Jr. High, I ran for class president but was told girls could only be vice president. I had he grades to be valedictorian, but had to do it in a different guise as the director of girl’s athletics and arts said I was a girl.

When I rebelled as a teen, my more extreme poems came under her criticism, it was a two-edged sword. During that time as a youth in the peace and civil rights scene, exposure to Beat artists and poets further shaped my creative values. I read classics like Thomas Wolfe, later Erica Jong, was also exposed to living characters first hand such as Neal Cassady whom I had not yet read when fleeing conflicts at home—thrust “on the road” in Mexico one summer at 16.

2. (DY): You are an author artist, activist advocate —how closely associated are those roles in your life?

(LR): I am an author, artist, activist and advocate. These roles are closely associated as: I often write about or paint the marginalized and misunderstood therefore connecting advocacy and activism with writing and art.

3. (DY): How do you view the art world?

(LR): The art world in my south San Francisco Bay suburban and downtown communities, seems to be two-fold. Either favoring safe, pleasant decorator realism or, in some downtown circles, edgy art for art’s sake: expressive, daring, inclusive works by financially challenged, sometimes unstructured folks.

4. (DY): How does your outlook of the publishing industry differ from your view of the art world?

(LR): My outlook on the publishing world vs. the art world are not too dissimilar; one must be a good business person to succeed in the former or the latter, unless fortunate enough to spar with Beatnik ghosts like you, Daniel --recognizing post Beat contributors such as myself who are often, in your circles, artists as well.

5. (DY): What roadblocks have you been up against as an author?

(LR): I have been up against roadblocks when writing about sexuality and spirituality in the same breath—why not, though, we are complex beings and, in ancient Goddess times there wasn’t a division between the earthly and the Sacred.

Most of my work brings those without voice to the fore, often before it is popular to do so, thus I have taken flak for having positions that later become more popularized, as say, in my research and original application of women’s spirituality in writing and art. On the other hand, sometimes my efforts were appropriated by others who had at first opposed them. I was at the forefront the Bay Area hippie movements long before my disdainful high school classmates became weekend tourists to the Haight. Later at a reunion, those who had spit upon the few of us “hippies,” tried to take credit for the Summer of Love. And there was even an older person who’s kids my age had stayed safely at home but blocked my first works to be published while at the same time saying they were accurate.

6. (DY): How do you overcome barriers?

(LR): I overcome barriers by hanging in, enduring being misunderstood or devalued by persisting and learning how to frame my views and works in language that bridges. Mostly by following the inner impulse to create works of art and literature, no matter what, trusting that, in time, somehow, their day will come.

7. (DY): What subjects did you study in school?

(LR): In school I ultimately earned a BA from Antioch San Francisco in Transpersonal Psychology, the discipline that goes “trans”, or beyond the mask of “persona” or outer face we present to the world, to the deeper awareness of our spiritual connection to the All. At Antioch you often design courses thereby substantiating community work or studies you made earlier on your own.

Prior to this I immersed myself in their Creative Writing programs under the direction of Dr. Naomi Clark. She surprised students with a reading list of all female often prize-winning authors. When asked by a burly male fellow student in my earshot, “Why?” she answered to the effect that, we had been previously exposed, to all male authors. Earlier as a teen I had dropped in—and out—of UC Berkeley which was the pattern of the times, there I attended advanced standing English classes with Dr. Paul Pieler, took black and white dry media art I was making already in counterculture circles, to an instructor who first said Figures should remain within the boundaries of the paper, no heads extended beyond those for example, advise he soon amended. “Keep doing what you are doing,” typical of that unstructured but free, time.

8. (DY): Did your career goal change by the time you graduated from college?

(LR): Though my exposure was academic at times, I was more consistently writing poetic prose about my personal post Beat life encounters. That would carry me through later novels including two with an erratic womanizing field advisor, fictionalized to a pivotal rouge character. Though I took 900 hours under his unruly tutelage toward becoming an LMFCC counselor, I changed directions, became ordained in a liberal 100-year-old spiritualist church where I gave messages and spiritual counsel, advocating for those I need, taught community intuitive development and creative classes and kept writing and drawing on my own.

9. (DY): How would you describe your writing genre as a novelist?

(LR): I am proud to be post Beat which aptly describes early experiences about my university professor reader Anne Marie Maxwell had introduced me, deemed my work as around the “Beat/Hippie axis” a term he devised to describe my first novel. Amid other Beats and post Beats I feel at home and, at last, understood. I don’t have to hide the nude paintings or sensual content nor suppress the spiritual side. My informal and later academic training in following intuition fits with the spontaneous Beat prose and artistry.

10. (DY): Who are your favorite authors and artists?

(LR): My favorite authors and artists include lately those who write or record engaging memoir wherein they are faced with overwhelming challenges and draw on resilience to survive: From Shoa project accounts of the Holocaust, to the first recorded women climber teams hanging upside down from glaciers on the highest world peaks, to Dave Pelzer’s accounts of surviving maternal cruelty up the Peninsula from where I grew up in books like A Boy Named It; I am riveted and inspired. I love the local poetry chapbooks and fine art of Al Preciado and the free figures and the ink dripping of Ellzabeth Parashis. Of course, the literary rush through On the Road was helpful as an audio book, but my favorite from that era was Jerry Kamsta’s Frisco Kid, a later Beat masterpiece. As a kid I read North Beach classics like Ferlinghetti’s Her, told in stream of consciousness, no paragraph divisions. Later I met Women of the Beat Generation authors. I learned how often, such talented writers would be made to write in freezing cars as there could only be one (male) author in the family, how Allen Ginsberg’s look alike ill-fated love jumped from an upper story window to her death, gifted female writers were made to work full time at magazines to fund their male counterparts’ On the Road Sagas, did all their return laundry and gave succor and shelter. In those days boys got to be boys, supported by these talented gals.

Joyce Johnson’s Minor Characters and Carolyn Cassady’s Off the Road Beat memoirs chronicled Beat women’s expected contributions and exploitation. Raised to be more of a free spirit by my love child, creative and troubled mother and who supported father who gave hands on nurturing to his kids questioned more sexist elements of the scene.

I read all of Erica Jong’s bold autobiographical novels which integrated historic, literary and sensual woman centered events in novels that so closely paralleled her life—as had Thomas Wolfe’s Whitmanesque accounts—their fictionalized autobiography approach inspired later work.

11. (DY): What prompted you to write Born in Berkeley?

(LR): It was in that San Jose State University’s creative writing program that I first recorded of my experiences with Kesey’s clan in Mexico, originally as a short story that became the nucleus of Born in Berkeley. I simultaneously benefited greatly from creative community arts and courses taught by generous, encouraging adult ed teachers, particularly private mentor Louise Vernon who helped me outpour and organize the rest of that book.

12. (DY): Who are some of the major influences on you as a writer?

(LR): Major influences on myself as writer include early exposure to off Beat literature, ushering for community theater; taking a few acting classes there, more often listening in the dark to dialogue in plays like The Night of the Iguana; , writing for the high school literary journal (MA’s Oak Leaves), then attending experimental Pacific High on Skyline Boulevard with the likes of Bob Weir just before me, discussing poets like T.S. Eliot there. I later discovered first authors like Tillie Olson and Maxine Hong Kingston in Clark’s class at SJSU, though I’d been reading and reading in my teens, and before old hardbound dusty children’s classics my mother recovered from peninsula-bought thrift stores, particularly Louisa May Alcott’s Utopian, transcendentalist Little Women series.

13. (DY): What did you like best about the 60s?

(LR): In the 60s I liked the folk music, working for Civil Rights, even being made an MC for a Southern Negro voting rights event at 15. I felt part of something making posters at the Anti-Vietnam Day marches in Berkeley with older artist pal Ann Schiffman from Pacific High. I liked learning to draw from another older girl friend, Frances Joy Bradbury, who didn’t shave under her arms, could fix her Borgward car and who pulled in young male roommates in Palo Alto’s Lytton House, as nude models for us to draw. I liked it when an older very heavyset lady tenant downstairs from rooms where Neal Cassady crashed, ventured out of hiding to join us for body painting; everyone was welcome. I liked the non-materialism best, something we forget. We privileged suburban kids could stop being rated for lookalike Stanford Shopping Center clothes, could live simply like Franciscans, even beg on the streets of Mexico, make our own earth bread, warm ourselves around Big Sur campfires. I liked the Kesey people making up new names that mocked 50s convention, like “Doris Delay.” I liked painted recycled busses and off Beat creativity. It is that playful creativity I carry over to today.

14. (DY): What did you dislike about the 60s?

(LR): I didn’t like a lot about the 60s, I was always the youngest person in those scenes, tall and verbal, but impractical and awkward—a kid. Much was scary. With allergies I didn’t know about in the family the drug scene soon revealed it was not my path. I didn’t like trying warding off the aggressive advances of adult men when I was a teen something normalized now by later accounts of Neal’s Luanne, giving little heed to her being a child. I didn’t like that sexual freedom was not that of women choosing what they liked to explore themselves, rather having to say yes to be cool and have a boyfriend, while before having to say no to keep one. Freedom would be women choosing more and being accepted with diverse and unique looks. Mainly, if I had been older then, it would have been better.

15. (DY): Is Born in Berkeley part of a series? If so, tell me a bit about the other books in the series.

(LR): The rest of the books in my Born in Berkeley series all came to me in a rush of impassioned spontaneous writing in cycles. They take the fictionalized, often but not always, autobiographical character, Caroline Ryder, through decades of evolution and adventure. It’s Born in Berkeley in the 60s; The Rainbow’s Daughter in the 70s; Where the Flowers Have Gone and Shadow Over the Beach in the 80s; Revenge of the Goddess and Parting the Veil in the 90s; A Burst of Sunrise, Side Roads, (Roll Away the Stone) and Swan Again before and after the millennium. The entirely fictional mystery, A Valley of Ashes, takes place in this time too, synthesizing previous themes of post Beat anti-materialism in Silicon Valley, older and younger love stories, spirituality and a poetic stream of consciousness, multiple viewpoint voices. The Last Piano bar culminates the BIB series, set in the ought teens.

16. (DY): You have a Master’s degree —please explain how that course of study has impacted your writing.

(LR): I went back and earned a Master’s Degree through studies at John F. Kennedy in the Bay Area, completing it by living for semesters at a time at Atlantic University, connected to the Edgar Cayce Headquarters in Virginia Beach. Holistic classes there in Psychology, Philosophy and Religion made more academic, my informal studies with early by Cayce exponent Jessica Madigan. Between semesters I studied Medieval Mystics with revolutionary theologian Matthew Fox at his creation spirituality program in Oakland. I loved learning about artist, author and advocate, 12th century Hildegard of Bingen who preceded Michelangelo and Da Vinci. With Fox I co-hosted a San Jose State University benefit for Autistic youth needing group homes through Spark Foundation and was featured with Fox in the news. I organized and participated in my first benefit art show there to assist that effort. Over time I came to spark more literary and artistic events when teaching that included educator and community catalyst Al Preciado, who’s expressive, explosive art and poems inspired me greatly.

17. (DY): What do you like best as a teacher? Talk to me about the classes you teach.

(LR): For 28 years now, I have taught an intuitive method of Creative Writing for inclusive adult education and community programs, benefiting greatly from interaction with students. Many mature students have written their first books, won essay contests, created family and community legacy. Yes, I have taught working adults in night school, dabbled at high school summer students, been a college guest lecturer for psychology classes on my Born in Berkeley experiences. But far and away I prefer teaching classes that include bright active older adults. They bring me full circle to a very early creative life influence.

Before I was five, we lived in Berkeley with my vaudeville composer and singer grandfather who had worked his way out of Dickens’ London as a singing waiter on a Cunard line just before the Titanic. He crossed this country through pristine national parks, bringing a team of entertaining wait staff “on the road” to land in California where he was also made golf pro. He and other much older grandparents like his counterpart, a Rosicrucian on my mother’s side; those and lovely “maiden” aunts made my early childhood happy, so now I enjoy teaching times with older folks. From Berkeley we moved to Menlo Park where my father would ultimately become director of the United States Geological Survey’s Western Region from Colorado to Alaska.

Over time in the South Bay, I have also taught meditation, women’s spirituality, intuitive development and various other writing and illustrating classes. In recent years, it surprises me to discover how close a virtual group can become. During the height of the pandemic, I would, after class, go wash my hands as if we had been in the same room. During that time too, I had the opportunity to study art theory and painting with my artist friend from Berkeley days, who had researched art principles missing in our youth. Those virtual classes were a gift.

18. (DY): Is there a creative outlet that you wish to explore—one that you haven’t explored yet?

(LR): Now…I would like to bring a plethora of creative work together. As a person who may splash out four paintings spread over the floor at a time, and who has a blizzard of notes, poems, and still unpublished work in her crowded cottage, a new feat might be to organize, publish and preserve this creativity. Creating a legacy matters and I have often saved the work of older authors without family. If anonymous was a woman that is not for me. My spiritual mentor Jessica Madigan once gave me a brief Akashic reading in the fashion of Edgar Cayce: “Write that, which has not been written.”

19. (DY): Do you have any heroes or people you look up to?

(LR): My heroes and heroines are those who turned stumbling blocks, into steppingstones, and who braved great challenges to develop compassion for those with a voice. Eleanor Roosevelt whose social programs helped my mother survive the Depression comes to mind. Mother Theresa and Brother Roger who took a dying infant girl from the street; he held her for six months; the baby became a physician. Helen Keller and her half blind teacher, Annie Sullivan who survived the loss of her little brother in a rat-infested institution and became the penultimate teacher for Keller. My own teacher Jessica Madigan who was orphaned at birth, suffered great losses but left a creative legacy of hopeful books, plays and readings. Here I must credit my late husband, older Joseph Haddox, loving stepfather to my two special children, one gifted, with special needs. Alone from a toddler until nightfall in boarding houses when his working mother raised during the Depression, he became a compassionate dad to children regardless of biology. Taking apart radios and such later as a kid there, he went on to become an unsung computer pioneer. Of course, John Lewis of SNCC Civil rights days is also among my heroes. Also, Matthew Fox who resurrected multitalented medieval nuns from obscurity. He was finally pushed out of the church by the office of Inquisition but speaks out from Grace Cathedral, espousing justice worldwide in the context of his Four Paths of Creation Spirituality: Via Positiva, the joyful times; Via Negativa or the dark night of the soul, adding Via Creativa and Via Transformativa whereby artist artists and poets especially, may turn challenges into enduring works that transform communities.

20. (DY): How have your surroundings inspired you?

(LR): My surroundings inspire me, including an old tree I saved recently from developers curling here from just over the fence. Sitting beneath its ancient canopy in a ramshackle, art adorned yard, drawing in whiffs of oak scented breeze; laughing with an outside boy and an inside girl both ginger, reincarnated cat friends, with whom I welcome creative visitors from time to time, is soothing. Although I have crossed this country by train on post Beat book sagas along Beat America’s byways, these cozy surroundings, bring it all back home.

POEMS BY LYNN ROGERS

LYNN ROGERS

ODE TO TOM

Sliding off the edge of tomorrow
Riding to where you are
On the Other Side of life
Saying neither hello nor good goodbye
Only
I am here
In the intersperses
I hear you in the
Hollow night
I love you in the
Moving sea of Time
I remember in the times that were:

You driving up the highway
To your old abandoned office
Half asleep to a secret entrance through which
You would
Let me in too
With your old GE Nuclear
Door card and I would wander that wing and write
And sleep all day while
You worked up front
Until you would burst open
Crisp white business shirt
Old fashioned men’s tassel loafers
Pleated pants clad and we might
Make love suspended over a desk
Or you might read the Great Gatsby
Your own past life tome to me
From start over days
To finish and I was happier there
Than anyone had a right to
To be

Now you are a ghost
And I am your Mrs. Muir
And I am still happier
Than anyone could be
Rattling around what is left of this life
Knowing that you enter it
Quietly somehow
At will when I least expect it
In the creaks of the walls
In the dark early am
On anywhere on the fly
When I sing
Or teach of get silly
Disheartened from too much alone;
That you are unfolding still
Through me
Beyond time
Where we still lie coiled
Unshakably
Together.

LYNN ROGERS

At Your Place

Lit by a blue inner light

Lying above me

Like an erotic Christ

On a cross

(You’ve suffered surgery)

With my hands on your feet

Inaudible traffic sounds

The day’s heat, cold, flee

Between us; diffuse

Auric showers flow

I can know you

For a moment, you—me

This rare communion

Inspired by your eyes

In need of healing

As were (St.) Francis’

By Clare; what went on there

In that secluded monastic

Cell is imprinted

On wind, centuries

Later there are some

Tender exchanges

Indelible, ephemeral

About which few words

May be spoken

And yet keeping

At best a certain

Arm’s length I am

Drawn like a faun

To the loamy

30s style carpeted floor

Of your bachelor’s,

Gender fluid

Pad, so near

Old Palo Alto

Scene of my own

Youthful fleeing

From Menlo Park’s

Wealthy accoutrements

I am here

Now with you

Gracious (convalescing) host

Swirling down Dantean rings

Holding fast to the

Posture of healer

My hands pressure

Your post-operative

Pressure 0oints while I slip

Despite myself

Into a Dionysian whirl

With its images of your past

Dancing by for me to

Understand, accept,

Lying like this I glimpse

Your charming, convoluted

Childhood manse;

Where, perhaps hiding

From an inebriated father

In your mother’s closet

Your wrap up in her mink.

Then I imagine you alone

In your expansive

Third floor bedroom

Over the gardens

Enacting boyish literary

Characters then

And then decades later

As a sandy haired dad

With kids taken over

From a bright troubled wife

You write From Here to

Insanity for stand up

In San Francisco;

From Kelly Boy to H. P.

You ascend

While your private life

Rings with vaulting,

Vintage music

And vital, if confused

Imaginings, everything

From a drunken night

In that city’s shadows

Coming up from beneath

A randy rake;

To here, at last, with me.

Cactus Jumble

Clean, erudite

Your mature balcony

Garden plants above

A deceptively dangerous

Though pleasant street

Inside on a table

With interlocking rings

A red book on

Great songwriters

Long gone, beckons.

On your daybed

Amid a proliferation of

Comfortably worn

Pillows you are a

Cactus I am a shorn

Acacia from street side

Whose blossoms waft

Into your evocative abode.

Song Fragments

I thought I heard

At music tonight:

Try a little tenderness…

The room was dark

And the moon was yellow…

Where my Rosemary grows…

Nobody knows

Like me.

...

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OTHER BOOKS BY

AUTHOR LYNN ROGERS:

Born in Berkeley
The Rainbow's Daughter
Where the Flowers Have Gone
Shadow Over the Beach
Revenge of the Goddess
Parting the Veil
A Burst of Sunrise (includes Stories from the Other Woman, unpublished)
Side Roads
Swan Again
Roll Away the Stone (unpublished)
A Valley of Ashes (fictional mystery parallel synthesizes BIB and post Beat themes)
The Last Piano Bar
Edgar Cayce and the Eternal Feminine
Alviso, San Jose (co-author)
The works & memorabilia of Jessica Madigan (& associates)
The Bridge of Brinnon
Guided Autobiography

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INSURGENT IMAGINATION

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Illuminated "Robert Branaman Edition" features the creative works of the late, Beat artist who was also an experimental filmmaker and Los Angeles poet. 122 pages with visual intensifiers to the poems, essays and perspectives on every spread.(Large format: U.S. Letter 8.5x11)

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THE SPARRING ARTISTS (Issue #1)

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Illuminated Special Edition
Anthology features 138 contributors from the popular multi-media series Sparring With Beatnik Ghosts.
Special Doug Knott Section
164 pages of poetry & prose combined with art and photographic intensifiers throughout.
U.S. Letter 8.5x11 Paperback

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California Road Kill by GenXCore

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California Road Kill is the harrowing journey of three societal outliers marred by violence, homelessness and the residue of addiction. Its characters embark on a path both physical and spiritual, of psyche and soul, as they seek redemption from the past, present and future. From urban blight to coastal breezes, it is a story not only of renewal and reckoning, but of California itself.

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Sparring With Beatnik Ghosts Omnibus

$65.00 +$5.99 shipping

Deluxe, 608-page, hardcover edition
Glorious art, poetry, narrative fiction, in-depth reviews, legacies, remembrances and the poetic chronicle of the SPARRING WITH BEATNIK GHOSTS © multi-media poetry series.
Groundbreaking compendium, contains 267 artistic contributors

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Under the Tree (Vol. #1)

$24.99 includes shipping

This art-filled anthology is edited by Michael C Ford. It features short stories, meta-fiction, and flash fiction. It also contains narrative novels in progress, pitch-paragraphs for screenplays, memoirs, a cultural essay and narrative monologues created for theatre arts!

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Sorcerers: Through Dimensions Infinite by Yaryan & Fitz

$120.00 + shipping

Exciting, illuminated, full-color edition of the first volume of Cosmic Pulp poetry by Yaryan and artwork by Fitz. Includes introduction by Amercan poet Michael C Ford. (232 pages, hardcover, U.S. Letter 8.5x11).

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Weed: Adventures of a Dope Smuggler

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The modern classic tale of Mexico and marijuana smuggling in the mid-1960s by novelist Jerry Kamstra!

Illustrated 45th Anniversary Edition with artwork by Fitz!
Introduction by Gerald Nicosia
Trade Paperback

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