I've been getting gentle nudges from my great-grandmother, Helen van Loben Sels -- and so is my cousin Karen Minton, all the way in Whitefish Montana!
Here in San Jose, I was discussing creative blocks with my friend Marc who is a superb creative development advisor. You can read more about Marc and his wisdom on this page. During that conversation I realized that I wanted to give Helen and the Masters a bigger and better push into the world, so that little book will find its way into the right hands. When I published the book in July 2020, I had Covid-tide mental exhaustion, was working full-time, had downsized our family home and was waiting to move into the smaller one. I could scarcely gather the energy to put up a web page about the book. But time plodded on, my circumstances slowly shifted and I recovered my focus and passion.
As Marc and I were talking, Karen, a remarkable painter, gave herself an assignment of 100 watercolor portraits in 100 days. Somehow, our 'Amama' keeps popping up for her. One of the things we are now discussing among cousins is the color of Amama's eyes. I'm pretty sure they will be confirmed as blue, but the brown-eyed portrait that Karen painted seems to be filled with Helen's spark of life. She's looking at me and encouraging me. Isn't it interesting when one ancestor inspires descendants who live so far apart?
I know readers will enjoy Helen and The Masters -- both for the biography of this fascinating California ranchwoman-turned-mystic, and for the many messages from her Masters toward the end of the book. For a while I drifted along with only TWO copies of the book in my home. What if a workshop opportunity had come up? Now I've ordered enough to be ready. I lovingly checked and repackaged these fresh copies, printed on demand in Indiana, and they are ready to find their new homes!
I’ve been writing one book in particular since about 2014. First, it served as my MFA Nonfiction thesis. When it was accepted by the committee, I chose to embargo its academic publication. I wanted to give this little book a chance to be published before it became fodder for future academics and scholars. But the question of who would publish it grew tough. Who would read a story about a woman in the early twentieth century who becomes a medium for interesting voices, through automatic writing? A woman who, unlike Sarah Winchester, did not become famous. And unlike Jane Roberts or Sylvia Browne, did not publish her writings for a commercial audience. My book seemed to be too much of a family story to be literature, but too lyrical to be a straight-up biography.
While I hunted for publishers and agents, the entire book had to be overhauled anyway – the academic tones rinsed out, and new transitions inserted. Pieces I loved all the way to the last draft had to be ruthlessly axed, while other items from an early draft marched back in.
From 2017 through early 2020, I alternately cast it down and took it back up. I hated myself when I wasn’t writing, a common writer trait. I began to bargain with my Higher Power. ‘Show me what to do,” I demanded. “Make it really obvious!” The first break in the mist was an email from my uncle, saying he’d help me publish the book for the family. I began to realize that this was an offer of real freedom – I would not have to change the book to fit the agenda or category for an agent or a publisher.
Then the pandemic arrived, changing my daily routines -- no more commute, no movies, no restaurants, no gatherings. Many people talk about how they are cleaning their closets and gardening during this COVID era. I don’t have a garden and in 2020, most of my worldly goods were in storage. So I came back to the book. I kept coming back until one day, it felt done.
Then a good friend decided to self-publish using an online behemoth you all know – and she told me how easy and straightforward the process was. She was right! Within two weeks I had a cover design, a formatted interior and an ISBN number. Thanks to my uncle, I was able to order about 50 copies of that little book and gift them to family members. Sending all these good people a book that I wrote about channeling spirits through automatic writing was a bit like going to a big reunion and taking my clothes off. I wanted to go into hiding for a few months until I felt safe again.
But I finished the book, and I made it the very best I could. The response has been warm and positive. Writing the book grew me as a writer and as a historian, and as a member of my communities. And I am pleased to realize that, whatever good readers can find in it, by bringing their own spacious minds to interact with the page, that is a little bit of good that would not otherwise have existed in the world. That scrap of good is my legacy.
Helen and the Masters: A Portrait of a California Mystic is available as a paperback on Amazon.
I've been writing my Masters' thesis, a slim biography about my maternal great-grandmother, for three years. At first the book was mostly in my head as I struggled with structure and voice. Finally, scenes began to find their way onto paper.
During year two, I constructed a long, awkward 'spine' of a book with clunky pieces. I was still in the gathering and placing phase, and many of the pieces went off in all directions. It was such a mess! I shared it with friends who gently reflected back that yes, it was such a mess. Still, the book had come alive now, and we were in a rather obsessive relationship.
This summer, in shifts of between one and four hours of work on it every day (and dreaming about it all the time), I managed to cut and sand away the rough edges, find an internal logic, and let the story begin to shine by itself. I didn't answer all the questions I had about her, but now I could see parts of her life more clearly.
I'm a month away from submitting it to the first committee for their round of edits, and I have not performed a wedding for a year. And yet. Weddings are around me, I remember them, I think about them. Here is a clipping about my great-grandmother's engagement to my great-grandfather. . .
And here is what the wedding was like:
Somewhere I have a blurry grey and white photo of the couple, but I actually think the reporter's breathless words do them better justice. A gown trimmed with Valenciennes lace! Orange blossoms on her veil! My family remembers that the wedding took place in the 'keeping room' because it was a little too chilly to hold outside. The keeping room is where dairy products were kept at a steady temperature. My guess is that the milk and butter were removed, and the room was filled with flowers.
Thank you for reading, and wish me luck on this thesis.