| Charles
Johnson, English professor, screenwriter, novelist, cartoonist, and
features editor with the Seattle Review came to campus last week as
one the guests of ODU's Literary Festival. Johnson's career is obviously
multifaceted, and his second novel, Oxherding Tale, published in 1982
reveals further the many dimensions of his thought and outstanding
writing abilities. Charles "Chuck" Johnson has a B.A. Journalism,
and an M.A. in Philosophy from the University of Southern Illinois.
He did his PHD work at The State University Of New York at Stoneybrook.
In 1976 he began teaching at The University of Washington, and is
currently an associate professor of English teaching Literature, Theory
of Literature, and Creative Writing. He feels that teaching writing
has made him a better writer, and he only began writing short-fiction
when he began teaching it. His short stories have been published most
recently in The Best American Short Stories 1983. Johnson considers
creative writing to be very valuable in terms of placing the student
within a community of writers and putting him in touch with the writing
world. He also emphasizes that a master/pupil relationship is of great
value. He was helped a great deal by the late John Gardner, who gave
him invaluable help and advice with his first novel, Faith and The
Good Thing. Johnson said that the intensely personal relationship
between the writer and the 'master' is an integral part of the learning
process. To illustrate this he stated how Gardner was so involved
with his work that on one occasion he felt perfectly at ease in adding
a line to one of Johnson's stories. Charles Johnson is currently considering
writing and producing a documentary on the life of Gardner. The proposed
title of this is 'The Dragon Slayer" which reflects Gardner's interest
in medievalism. Johnson's connections with screen writing are extensive
and he held a conversation on this last Wednesday morning 'which was
useful and informative. His own involvement with TV began during his
undergraduate years. He was a cartoonist - his cartoons have appeared
in publications such as Ebony and Essence - and one day he called
the PBS station WSIUT and suggested a series on drawing. Although
WSIUT were operating on a tiny budget, they saw the possibility that
such a series would make a national contribution, and Johnson came
cheap! He said that PBS is sensitive to culture, and is always open
to new ideas and writers. This as opposed to network TV, which Johnson
considers a wasteland, where 80 percent of the writing is done by
staff, making it virtually a closed shop. Johnson also criticised
network TV saying that, "They have a conspiracy to keep minority writers
out." The fifteen show "Charlie" series first aired in 1969, and is
still running. Johnson had no previous experience in screewriting,
but his novel Faith and The Good Thing was noticed by Fred Barzyk
of PBS. Barzyk was looking for a comedy writer to create a documentary/drama
about Charlie Smith, who at age 137, was the oldest living American.
PBS are, said Johnson, "interested in historical dramas that seem
to deliver the past to us...it makes, the present more intelligible."
Johnson worked with eight drafts and created, hosted and co-produced
the series "Charlie's Pad". The series premiered in 1978 and starred
the late Richard Ward as Charlie Smith. The series was a tremendous
success and hit the highest ratings then achieved. Johnson also wrote
the PBS "Visions" drama "Charlie Smith and The Fritter Tree". In 1981
he wrote and produced ten Shows for the PBS series "Up and Coming".
He also has worked with a documentary entitled "Booker T. Washington"
which will be on the screen in October of 1984. Johnson says that
he gained valuable experience at all stages of the script and production
process. His advice for writers interested in screewnting laid a strong
emphasis on a concentration on the basics. There must be strength
of character, and concrete dramatic action, combined with a sensitive
treatment of dialogue. Producers appreciate writers who understand
the mechanics of plot and structure, and who can create strong, consistent,
yet unique characters. Johnson believes that screenwriting is not
'art' in the strict sense of the word because the writer does not
have the exclusiveness that he does with fiction. Unlike writing novels,
the work of screen writers is subject to several levels of interpretation.
Creative input comes from the producer, and the actors which, Johnson
says, teaches you humility and is very positive. Johnson outlined
the major stages involved in the production of a series or program
for TV and much of what he said is valid for writers in all genres.
The writer, working from an idea, produces a two or three page synopsis;
the vital characteristics here are vividness and strength. From the
synopsis comes the treatment which outlines the scenes. The writer
then produces a first draft which is essentially an elaboration where
"life is breathed into the characters." The second draft is the final
phase where the writer is concerned. Johnson stayed with the production
process, after completing his drafts, and said that his involvement
with production was "an intense experience." Charles Johnson, had
been writing for sixteen years, and had written six novels, before
his seventh novel, Faith and The Good Thing was published in 1974.
This novel was described by the Washington Post as, "a book of rare
eloquence and Originality, a fable that entertains and informs." Johnson's
subsequent novel, "Ox-Herding Tale," published in 1982 by Indiana
University Press was six years in the writing, the novel is both comic
in its inherent irony, while still true to the traditional slave narrative
and philosophical. The picaresque, first person narration of Andrew,
a mulatto, is used by Johnson to explore the search for self, and
for freedom. The question raised in the book is, "what does slavery
do to human nature?" Johnson considers a multitude of levels and questions
through his protagonist's striving for liberation from the physical,
sexual, racial, and spiritual bonds in the world surrounding him.
Andrew straddles both the black and white worlds; he lives for a time
in each as the novel unfolds while constantly dodging the soul-catcher
who signifies black paranoia and appears when the character has become
so obsessed with racial tensions that he wants to die. Johnson uses
symbols from both Eastern and Western philosophy as he stresses the
universality of his work. The most important device is the one on
which the novel is entitled; 'Ten Ox-herding Pictures" of the twelfth
century Zen artist Kuoan-Shihyuan which traces the progress of the
herdsman searching for his ox; the self. Many aspects of the Eastern
philosophies and religions are utilized by Johnson, primarily those
of Hinduism , Vedanta, Taoism and Buddhism. Andrew's tutor, Ezekiel,
is a transcendentalist and serves as a bridge for Andrew between Eastern
philosophy and the Western experience. Johnson said that he is greatly
influenced by Herman Hesse and that his novel, "Sidhartha," provides
a hook to "Ox-Herding Tale." In both books, the main characters leave
their parent's home to journey through the world of senses and both
achieve a transcendental enlightenment at the end of their journey.
"Ox-Herding Tale" presents a universal picture of the slave and his
search for freedom. Johnson is concerned to show that a definition
of the self cannot be grounded in opposition to the world, or under
the notion of separateness from this world. If we believe that we
are separate a law unto ourselves our self-definition is based in
grief and despair, as is George's, Andrew's father. This character
is a supreme cultural nationalist, and stands opposed to his world,
in misery. The book treats questions of race and sex apparent polarities,
no real truths, and Andrew transcend these barriers, and by doing
so, finds his true self. This essential point in the novel is closely
related to Johnson's criticsm of the majority of contemporary black
literature. He feels that black writers, with few exceptions, focus
too narrowly on racial questions and political issues. He said that
their writing is too heavily dependent on the form of protest literature,
which has been predominant since the early 1900's. Johnson cited several
authors and particular works which are exceptions to this. Namely,
Ralph Ellison in his novel, "Invisible Man," Jean Toomer in his part
poetry, part drama work, "Cane," and Richard Wright's, "the Outsider."
Johnson sees questions which he feels must be raised by black writers,
and he recognizes that there are a myriad interpretations of experiences
which should be treated on all levels. "Ox-Herding Tale" reflects
his concern with all aspects of culture and experience. Johnson said
that he would like to see dramatic changes in the work of black writers.
He believes that "as the focus on oppression diminishes, writers will
take aesthetic risks, and concern themselves with other, perhaps more
valid questions." Johnson plans to continue writing philosophical
novels, using the black experience as a background. He told me very
confidently that he will have eight novels and one collection of short
stories published by the time he is 50. If you read his books, I'm
sure you will agree that eight may not be enough. He gives an insight
into the total expenence of the black American, an insight which is
not only unique, but also vitally important. |
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