Horse Gone Silent: An Author Gives Voice to an Animal’s Experience

About one year ago, I met a man named Shane Ledyard. He was judging the Hunters at the local horse show where I am an announcer. As we chatted, we were pleased to find out that we were kindred spirits beyond the horse world. He is a writer and the author of Horse Gone Silent, a book about the life and experiences of a horse named Calebo. While I am sheepish to admit it has taken me this long to be able to write about this YA story, I am very happy to share it with a larger audience.

I was immediately impressed by the attention and thought he had given not just to the content but the design and presentation. The cover is a clean, bold design with a close-up of a horse’s eye. This reminded me of a wonderful print I have by my fireplace at home that is quite similar in conception. You find yourself staring back at it, trying to see into the horse’s thoughts, and, perhaps, gain a glimpse of yourself.

This tale definitely would appeal to both the YA crowd it is meant for and adults interested in a story focused on horses. Now, horse stories are nothing new, and the drama of their lives has been addressed in both fiction and nonfiction, but what I find interesting here is that we have the horse’s voice rather than a human’s perspective. Many of us do wonder what they are thinking, right? What of their early experiences stay with them into their later years and changes in owners and training? Ledyard’s experience as a horseperson—rider, trainer, judge—lends a credibility to the projections and assumption of thought and emotion on the animal’s part.

Now we do need to remember that this is fiction and not science or research so, no, horses are not human and, therefore, not inclined to human thoughts, feelings, and actions as far as we can prove. But this is not intended to be a guide for communicating with or training animals. It is a story that imagines how one animal might experience life from his first moments of consciousness, shares his varied experiences in different living conditions with various owners, and, ultimately, unveils what I believe to be Ledyards’ notion of the ideal home for Caleb and perhaps many horses.

 

My critique would be that he tells a bit more than showing at times. I’d like the narrative  to unfold without the interruption of explanations. For instance, at one point, he explains what “weaning” is. It’s a moving passage about separation and trauma, but would hold more emotion if it offered more action and less definition. As well, later in the book, Ledyard explains to the reader what a Grand Prix is and I found myself pulled from the action. My preference is to add a glossary for those unfamiliar with horses so that the horse people reading it are not distracted by what is already known to them. And, like many of us, he seems to be trying to reach too many audiences with too many messages in one text. Is this about Calebo? Is it about horse care and ethics? Is it about faith and destiny? One focus per book would suffice. He could then do a series (if he is not already) in which he can address the evils inherent in the financial aspect horse business, good breeding and training practices, and the joy and success that a well-matched rider and mount experience.

Still his insight and compassion create very plausible imaginings of what an animal may well think and feel. He does have a gift for creating atmosphere. In Chapter 9 “The Killer Pen,” a barn has “paint chipping from the walls, mixed in with years of dust and grime.” The lack of pride, respect, or care in the facility is visceral. The simplicity of the description does not hide the hopelessness of life in this facility. It is always clear that he wants the reader to be extremely conscious of how actions and environment affect an animal’s quality of life.

I would be interested to read more reactions to this story. Ledyard himself is quite a benevolent spirit and open to discussion and commentary in way that many authors I have met should be. Perhaps he can influence writers as well as riders in both his actions and words.

Click here to read more about or to order Horse Gone Silent

Keep Reading, Keep Learning, Keep Growing

Some ideas and observations are worth a revisit. This entry was originally posted about 3 years ago and I find that it has relevance still today. I’ve  changed the title and did a bit of editing but the essence remains:

Perfection is an inaccurate term to use for a human being, I believe. There is a positive force to embody in our lives regardless of the term we apply to it. As I continue to savor random moments alone with How Yoga Works by Geshe Michael Roach, I find myself kind of floating emotionally in a soft cocoon. My head hums a bit, my chest alternates between tightness and the most clear and weightless expanse of breath I can ever remember having. Realizations and fear, regrets and hope all ebb and flow. It’s like having a misty aura pulsing around me. Very spiritual. Very new. Very different from the reactions to the texts I usually read and write about.

A current passage that has insinuated itself into my thoughts contains references to the dilemma of pride. Pride is especially troublesome when it has installed itself within a student and the master or teacher must find a way to refocus it. One of the pending titles for my blogging is Teaching People How to Learn. I still may use it later on, but for the moment it serves as a better example of the trajectory of this post rather than a guide for a separate entry. As the narrator tells us, pride must be hit or beaten with a figurative stick until it becomes “a healthy kind of confidence” ( 135). One holds onto pride jealously but confidence is flexible. It can be shaken, it can be restored, and it does not begrudge change.

Confidence is what many of us lack when we endeavor to write. Pride is what stops us from learning. Those of us that have allowed rejection letters or the disinterest of influential people or difficulty with insecure bosses  to define our worth have allowed a perception to dominate our overall sense of ability and worth. That is not to say that there is a ceiling to learning and that writing is a static medium. The negative must be analyzed closely to find the realities within that collapse of hope or momentum.

This leads me back to teaching people how to learn. I have students who go into throws of anxiety and confrontation when they get a C rather than the expected A (Read: grade earned for simply producing the work). I see them as people with potential to evolve if I can assist them in realizing that earlier grades came at earlier periods in their education. Perhaps the standards were lower as well–let’s be frank about that. Many do not know how to evolve from the platform they have rested upon and refuse to find that there is more work ahead. Their pride is blocking the growth of their knowledge base. I am the wall they hit or the stick that beats the barriers down if I can.

What overcomes the obstacles? Reading of course. The text is life. Each text is a portal into a new perspective on life as it was or is if you see it for its potential rather than only its concrete form. How Yoga Works teaches us that things are not “themselves” or, rather, don’t have an unyielding unchangeable identity. Our engagement with the world creates or molds the nature of what we behold and that nature “itself” is not static. Roach offers us an example when the narrator engages her jailor in a discussion about a bamboo pen on his desk. Is it a pen? To him, yes, but is it only a pen? He comes to realize that it is also  a tiny piece of nourishment: “I mean that impression, that sense of division is so strong . . . I simply never realized that I make the pen itself ; my mind takes the pen a pen, just as the cow’s mind draws the same green stick as something good to eat” (118).

Now, I don’t  believe that our perceptions are an illusion or that people do not create texts, art, or even meals in an unconscious state that only others can give concrete form to as they engage with them. We are not passive vessels nor are our accomplishments eradicated by lack of witnesses or missing accolades. What this text brings to me and what I take from my interaction with it is that we can change our perception so that pain and discomfort do not concretely define an experience. If someone is cruel, the unhappiness is real, but the root cause of our pain may be suppressed or veiled by the surface actions. What is truly cruel in the moment?  The actions or the causes of these?

For a non-spiritual on non-philosophical example, think of the “kick the dog” syndrome. Someone is raked across the coals by his unhappy boss who is looking for someone to abuse because his wife made nasty comments that morning. The employee, feeling victimized and powerless, then spits profanity at someone who accidentally bumps his arm causing hot coffee to burn his hand. The person soundly abused for an honest mistake cuts someone off at a turn feeling the need to assert her authority and presence. The person who narrowly misses hitting that car comes home shaking and, as the dog trips him in his glee at finally having someone to play with, kicks the animal for also being in the way.

These examples and questions are not meant to confuse your sense of order or make you doubt your eyes or heart. Doubt is not the goal. Doubt is real at the moment you feel it, but it should not be a  manipulative tool for preventing the emergence of self-assertion and confidence. The key here is that self assertion must be based in awareness and tempered by acceptance of the changeable nature of what Roach calls “universal powers” and of perception.

The text I am reading is life. What you are reading is life. As it should be? As you agree? Does it matter? We are experiencing the opportunity to learn and grow from the nourishment that is found in the narrative.

Do You Hold on to Your Drafts Like Other People Collect Books?

I was just reading a post from a wonderful blog I follow and they were asking for feedback about how people “manage” their libraries (Here is the link to the post: Live to Write-Write to Live).What do people keep or part with? How do they keep track of or arrange their books? Many of the posts I read came from people like me who have a large-to-enormous collection and are often trying to purge or rearrange to their satisfaction. It was refreshing to know that I’m not the only one who can’t seem to let go of books that I may never reread or get to reading. Even as I reduce my library slowly, I am often restocking from behind so to speak. New stuff always makes it in! It is, after all, part of our interests or passion. Collecting and disseminating is part of the process.

But what about drafts or ideas? Regardless of how you write and store your info, do you hang on to ideas or started projects thinking you’ll turn them into something someday–when you have more time? Are you so tired of trying to get past a point with the story or poem or essay that you can’t bear to find new energy for it but can’t give it up since it’s taken so much of your time? Some projects are like books in your collection–they just don’t quite take precedence. In other words, yes, there may be a time in the future that this idea or project finally germinates. But there might not be. Drafts may not be as bulky as books, physically, but they do also take up mental space you might want to free for future ideas.

 

Don’t jump to hit the delete button or use these languishing pages for kindling to free yourself from them right away. You should really ask yourself if you have simply given up and actually do need to get back to work or if you honestly don’t have a real interest in them anymore. Be as brutally honest with yourself as you can be. And, don’t forget, you can always share these projects and drafts like you would a good book: Give the idea to someone who might be able to do it justice. Creating and disseminating is part of this process. How you spread the word is entirely up to you!

What is the Value of the Written Word: Part II

Part I was the response to the literal question. When we make a living writing and editing, we have to put an objective, concrete value on our words in order to survive and thrive. But that should be just a necessary evil. Today, we will visit the figurative or philosophical aspect of the query. So, business aside, what about the value of words gauged by other means? Do they have a measurable effect on us and our quality of life just as a paycheck related to these words might?

Words themselves are priceless and enduring. The carefully chosen ones produce life-changing insight, poetry, beauty, and enlightenment. The wrong ones may cause personal harm and wreak havoc on our souls, create unnecessary confusion, or set off  a chain of miscommunication and permanent damage. So, there is power in how we use our language, but so many people don’t consider this. Nor do they consider that learning how to structure our verbal interactions is of vital importance.

College students taking required composition classes most often treat their writing assignments as a burden and as something to be gotten past. They don’t realize the power they have when they wield their language artfully and strategically. There is grace in touching someone with words of significance. This is part of the overall struggle we in the humanities have when fighting to maintain respect and funding for Liberal Studies.

The “value” in communicating clearly is immeasurable. If you are still stuck on the financial side of “value,” then understand that poorly written missives don’t even get you onto the ladder of success, much less up any rungs. You’d better hope you are so brilliant otherwise and that you will be in so much demand that you can afford a personal assistant to mask your failings in this arena.

The real value, I think, is in what your words will do for others as well as for yourself.

It’s All Good Experience

Calvin’s  idea is one way to address the harder aspect of writing. I think there are other possibilities. Just recently I took on some nonfiction work for an educational publishing company that I have a long-standing relationship with. These tend to be short pieces for dual-language learners or ESL students. Let’s see, the last educational text on I worked on was Skyrocket Your Grammar (under Heron Moon Press on my site’s menu). It was an incredible challenge because I had to write songs, stories, and mock interviews using only the grammar excercises each chapter focused on and the topic at hand (e.g., insects, sea creatures). I’m still rather proud of the results. I’ll be gathering some examples of the different kinds of projects to post here soon.

Over the next months, I’ll be doing more nonfiction and fiction for various grade levels. I was crazy enough to try to write a graphic novel type of layout for a biography of Florence Nightingale. I made it way more complicated than it had to be for the grade level. This was for 1st graders. So many restrictions on vocabulary and sentence complexity (actually, lack of complexity). I have to do a nonfiction piece for 5th graders this week. I’ll be doing fiction for the same grade in the graphic novel style soon. My editors may need therapy before I am done, but I’ll do my best to meet their requirements.

Basically, what drives me to to do my best for my employers, besides regular income, is that I was on the editing side of the desk for a long time. I was a project editor and was sent into spins when writers sent me useless  or off target work. I had one writer tell me that she was “just a gun for hire” and that she was not really worried about perfection. She wrote for the check; she was not a writer. It showed in her submissions. She wasted my time and the company’s money. While many of us don’t worry about a corporation’s bottom line, the more money wasted the less the employees have a shot at good raises and improved working conditions. Anyway, the point is, I know how important even the shortest essay for a textbook is to the group working on it and I respect all of the people who rely on me.

What does it do for my own work? I have a clear audience in mind and challenge myself to make sure I understand their interests and needs. I have to think about how extensive my own vocabulary is or how effective I can be with less. How clear can I be without boring everyone? Let’s face it. Little kids have short attention spans. They are a tough crowd! Using an obscure synonym for happy does not impress all grown ups. So, the more I take on genres that I would not usually gravitate towards, the more I can figure out what I do best and for whom.

Who do you write best for? Why? How?

 

 

 

You Can’t Write if you Don’t Read–and Listen—and Look!

This may not be news to some of you. It may be a good reminder for those of you who have fallen off the “good writing habits” wagon. There is absolutely nothing that you can read, listen to, or view that can’t become fodder for your own writing topics.

If there is anything that helps writers engage with their innate or practiced talents it is having to create a story based on a visual prompt. A friend recently asked me to collaborate on a book project with him. He had created a series of pictures. He wanted a story to go with them. I happen to have included in my syllabi over the years, assignments that included writing prompts that were solely images. The coursework idea came from an NPR interview in which an author had mentioned that something she witnessed in nature fed her curiosity, leading her to do research, which led her to create a work of autobiographical fiction. First, she looked. She saw. Then she read. Then she wrote. I’ve always loved this exercise and the surprising results in the classroom but did not expect that it would become so influential in my own process. But, here I am writing to you, writing a manuscript, teaching new groups of hopeful writers and reluctant college students. Nothing is wasted when it come to engaging with the world with all of your senses.

What do you see in the picture above? I see a narrowing of focus created by the gradual lowering of the branches. Like a telescope in reverse. My fiction choice would be in the mode of a kind of Alice in Wonderland falling down in to a smaller world of possibilities. My nonfiction choice would be to debate which is more beautiful: Nature left alone or sculpted and planned. Very rough ideas at best, but that is the planning stage, right? These choices make up the adventure and the pain of the writer’s life.

Memoirists: My Educators

I was so pleased to read the comments and see the “likes” that appeared in response to my last post. I am always trying to stay in learning mode and keep from atrophying intellectually or creatively, so the feedback I get is always of interest and importance.

Through my newfound colleagues in the blogging community, I have learned even more about the Memoir.  I find myself enlightened as to the fact that a Memoir’s value should be gauged by each reader and their preferences or needs rather than by a preconceived idea of who the Memoirist should be or what their “qualifications” are.

Because I focus my blog content on the pursuit of inspiration for writing in general–rather than in one particular genre–and because I frame my work in relation to the principles and patience of yoga, I cannot remain inspired if I don’t investigate my stubbornness or even snobbery about the varied aspects of these disciplines. To look critically at the place the Memoir holds in my academic background is the first thing I needed to do. The Memoir or an Autobiography, in my literature studies, has always been part of a larger pattern of investigation that helped me to understand a particular writer’s process in life and art. The texts brought to me an understanding of their methods and moods as well as their social or historical influences (I’ll not argue theory here). I adore the work of Edith Wharton, but, without reading about her, I don’t feel that I could claim to begin to understand her work and I would be more passive in my engagement of her books. How is it that she so adeptly censures the suffocating world of the New York aristocracy of her time? How does she so aptly understand the poor or extreme choices one makes when in love or in need of status?

But what about non-academic studies? What about the study of the immediate world around me? What are other people doing with their lives right now and what are the events that shaped them or that must have been navigated to survive or thrive? Can’t they be of interest? Can’t they be included in the Humanities? If I am going to be a reliable teacher of writing, I must understand the modern reader and not just my literary predecessors of both fiction and nonfiction. This is where the modern Memoir comes in to play and takes me out of my institutional sense of propriety. This is where I continue to learn: By letting the discussion or debate happen around me and letting the new voices, the current thinkers and writers tell me about their standards. Let’s face it, unless I need to get a grant or need to gain tenure, do I really have to subscribe to one way of approaching my studies? Yes, this is going to be related to yoga but only briefly: There is no one way to practice. There are many ways of learning and progressing. It’s only up to you if you choose one path of study. That is fine. But do know it is a choice and that there are other paths for other people! Maybe a stroll down one will bring you closer to your own goals!