Professor Dick Barnes

In my reading I often encountered a book called Cursor Mundi--the history of the world from creation to the world's end. Never seeing it on the library shelf, I finally asked a librarian about its due date. She said a professor checked it out and could keep it indefinitely. She left him a phone message indicating a "student" had asked about the book. We'd wait to see if he chose to return it.
     Next afternoon my doorbell rang. A tall man with glasses stood at the door, a large book in his hand. He asked my name. When I identified myself as Dolores Cullen, he handed me the book--Cursor Mundi. He explained, "I wanted to see for myself the one other person in Claremont who is interested in this book."
     I thanked him for his kind gesture, and asked his name--Dick Barnes. He taught Chaucer at  Pomona College. Generous Dick Barnes would play a part--sometimes minimal, sometimes disruptive, all unintended--in the three Chaucer books I'd write.
     When the first book (about the Host) neared completion, it needed to be read by someone well-acquainted with medieval literature. I managed to overcome my initial timidness and visit Professor Barnes' office on campus to ask if he'd be willing, and he agreed. When I asked the cost, he smiled and said, "You couldn't afford me, but I'll be glad to do it as a favor." I had packed proof upon proof into one-hundred-eighty pages of text, and another seventy-five pages of notes and bibliography. Though ultimately not enthusiastic, he did call it "a good read." It was two more years before I had a publishing contract.
     In mid-December 1997, a bulging envelope from the publisher contained many items including a copy of Professor Barnes' blurb for the back of the book.
     The following year my project would be book two, Pilgrim Chaucer, about Chaucer himself. Eric, the book designer, settled the question of the cover design for Pilgrim Chaucer when he found a polite, slightly suggestive, little grotesque to greet the reader. And he recommended hunter green for the color, our "in" joke. Chaucer's name is related to the French word chausseur, which means hunter. That volume is dedicated to Professor Dick Barnes.
     Book three (1999), about all the other pilgrims, was coming along when a serious problem arose where none had been anticipated. The problem had to do with helpful Professor Barnes. Though retired in 1998, as a professor at Pomona College, he maintained an office near the campus. In spring of 1999, I chanced to meet him in town. When he asked about Chaucer, I told him of Pilgrim Chaucer on the verge of publication, and about book three now in progress. He said he'd enjoy  seeing book three. So, in June, when a good portion of the text (sans footnotes) looked passable, I dropped off 200 pages for him to read. Though I gladly gave him the manuscript, I didn't count on his being able to review it because he was seriously ill.
     As the year 2000 drew near, I turned my attention to Chaucer's 600th anniversary. I wrote to five well-known journals and scholarly groups to ask about their intentions for commemorating the auspicious occasion. They had no plans! Even the Early English Text Society had not scheduled publication of a volume of Chaucer for this once in a century opportunity!
     I could hardly believe the lack of interest. I emailed Professor Derek Brewer, a British Chaucer scholar, to say, "It is beyond my belief that England would fail to find Chaucer's anniversary significant. I am at a loss to understand."
     His response lamented at length the British disinterest: "There is at present a dominant anti-historic and anti-literary element in our culture," he states, which contrasts with a "rage for the contemporary." I found the indifference to Chaucer alarming.
     With my mind occupied with book three and the disregard for the Chaucer anniversary, I gave little thought to Dr. Barnes and the book three manuscript. But, early in December 1999, a phone call from him surprised me. "I've had your manuscript quite a while, but I have finished looking it over. Would you like to pick it up at my home?" Recovering from my surprise, I said I'd be there Saturday afternoon.
     Dr. Barnes answered the door. We talked for a short time while he sat in an easy chair. It pleased him that someone (meaning me) would actively be working with the Canterbury Tales. "A strong force in academia," he confided, "is attempting to have all literature before Shakespeare removed from the standard curriculum." It worried him that appreciation of early literature had diminished. And what a sad revelation for me! His statement echoed what I had recently learned.
     When I got home I examined the pages he had read. Most were unmarked. Here and there he recommended a better or additional word--specify "temple" instead of "structure," for instance. Two of my examples, he felt, were weak; the evidence given, inadequate. Concrete statements would have to be composed and inserted.
     I had received the second galley pages. Changes now would inevitably create that situation for Eric which I had been so carefully instructed to avoid. You may recall: "At this stage, corrections could be made, but no revisions, no moving text, no changes of any kind are allowed. Content and pagination are set. Even small changes could have a domino effect where succeeding pages, perhaps many of them, would need to be modified. In a word, alterations are verboten."
     I weighed each of Dr. Barnes' criticisms. Substitutions for three words appeared necessary. The paragraphs involved would probably maintain their contours. One or two sentences had to be added to several pages. Those additions would, without doubt, cause the text to need adjustment--and also the subsequent pages.
     I gave scrupulous attention to printing out the proposed insertions, attached them to the pages involved, and highlighted where revisions were to be entered. That process, along with proofing the 425 pages I had received, took many days.
     I mailed back the pages, including the formidable changes, the first week of January 2000--then braced myself for Eric's reaction. On January 18, his reply arrived. It had taken him several days to absorb the shock. The protest I expected was there, but tempered with understanding of my position.

          I've received your page proofs of Chaucer's Pilgrims. To tell you the truth, I received them a week ago, but was so horrified I waited until now to write. . . . Let me say, for the record: Bad, bad, bad author! As you know, this is exactly the kind of thing I hoped to avoid when we discussed it some months ago. . . .  I do understand, however, how important Dr. Barnes's comments are to you, and that we must consider them. It would be a big mistake not to.
     I should tell you that there will probably be some charge to you for revision, after I've made these changes. It may also force us to set the schedule back a few weeks, but not enough to make a big difference.

The situation I had caused would be manageable. The letter ended on a positive note. "The way you've indicated the changes is fine, and I'll have no trouble following it." What a relief to have it settled.
    I wrote a note of acceptance and appreciation.

         Scolding acknowledged. I'm sure you realize the "Barnes" changes were not made to aggravate you, nor were they made because I didn't understand our "little talk." After due consideration, I felt that if I'm not going to make the best presentation I can, what's the point of what I'm doing?

With the give-and-take accomplished, Eric and I returned to our easy-going relationship.
     Professor Barnes died in May 2000, before the book was published, but his contribution will forever benefit the world of Chaucer studies. And I am eternally grateful.

* * *

Dick Barnes was born in San Bernardino, California, in 1932, and grew up in Barstow. He died in 2000, at the age of sixty-eight. Professor Barnes taught medieval literature and creative writing at Pomona College, and was an outstanding poet besides. A critic recently said of his poetry: "I'm convinced that, in the future, any anthology of twentieth-century American poetry which neglects Dick Barnes will seem ridiculous."

    


        
    

The adventure of publication--Book 1

Publisher John Daniel accepted my manuscript for Chaucer's Host in June 1997, even though it presented a problem involving the language in the Chaucer  quotes. Two letters common in the Middle English alphabet--thorn and yogh--are no longer in use, and were not available in any font in 1997. I sent a photocopied page with examples as a guide, and a thorn and yogh were created.
     Before composing the dedication page, I visited my cherished mentor, the poet Virginia Adair. I wanted permission to name her as a dedicatee. She said she felt undeserving until I reported that another professor had told me "mind your humility." After her peppery response to his words, she acquiesced. When I got home I wrote the following:

For

Ted, my husband

and

Virginia Hamilton Adair

because they were there for me

from the beginning

With the dedication completed, all the required pages had been sent.

     The first proof pages arrived in late October. The quotes from Chaucer, as well as the general text, were set flush with the left margin. The book designer, Eric Larson, wanted my comments. To see my words in print thrilled me, of course, but I returned the proofs with a note saying, "I assume you don't intend to have all the poetry against the left margin." I enclosed copies of a couple of pages illustrating centered quotes, the way they ought to be.

     Eric sent a  lengthy reply explaining that "flush left" is the logical and the most attractive way to display poetry. To do otherwise, he claimed "makes the whole page look raggedy and disheveled."

     I begged to differ, at length and in detail. "My aim is aesthetics," I declared, "not logic." I don't think I've ever been as forceful, before or since. I offered two alternatives for poetry arrangement--neither flush left--and waited.

     The anticipated letter from Eric finally came after Thanksgiving. He chose my second suggestion and closed his letter with, "Thanks for your help." The kindness of a professional toward a novice.

     Soon I received this design of the front cover for my approval.

I had an idea and a a question. I phoned Eric to suggest placing a white "disk" behind the cross as a symbolic Host. He thought it would look like blank space, but I assured him it would be seen as an illustration of the Eucharist. Then I asked, "Eric, where did you get the M?"

     "What do you mean?"

     "My middle initial is L!" Both changes were made and I happily approved the result. 

Publication was set for July. The processes were exciting but laden with responsibility. If I missed something during proofing, the oversight would become permanent printed history!

     In January 1998 came a request for author photos. A style-conscious friend insisted I wear a plain dark top, with, perhaps, a string of pearls. I went along with the advice, sans pearls. An appropriate accent to complement my black sweater, is, instead, the Middle English Dictionary. Embracing my favorite research tool represents "me" more than wearing pearls. 

     The second proof pages arrived in late February. Corrections indicated in the first proofing had been made. This read-through constituted final approval. At this stage, corrections could be made but no revisions, no moving text, no changes of any kind. Content and pagination were set. Even small changes could have a domino effect requiring succeeding pages to be modified. That could delay the publishing schedule. In a word, alterations were verboten. When I mailed the proofs back, my part of the job was over.

     Galley proofs were sent out to "blurbers," individuals who would read the printout and provide responses to be printed on the back cover. Professor Barnes, who taught Chaucer at Pomona College, called the book a "good read." Dr. McCray, a college president noted for his interest in Chaucer, said,  "it meets a need thus far unfulfilled." Hugh Hewitt, host of the series Searching for God in America, on PBS TV, generously declared, "Cullen's expertise and passion draws in even readers who swore off Chaucer decades ago."

     When I received the back cover design I called Eric again.

     "Eric," I asked, "who chose the quote 'Harrow!' said he, 'by nails and by blood!' at the top of the cover?"

     "I did," he said, rather defensively. "Why?"

     "It's perfect," I said. "It characterizes the whole book!"

"The Harrowing of Hell" is Christ's action after being crucified. He destroys the gates of hell and releases the souls waiting for the Redeemer.

     With all of the book in order, publicity and distribution took over. The publisher's website said, "Cullen posits a secret identity of Herry Bailly, keeper of the Tabard . . . and proposes convincingly that Chaucer's Host is none other than Jesus Christ." Chaucer's Host could be purchased through Amazon, Barnes&Noble, and Borders online. It all came together in a rush.

     A small, heavy box arrived from Santa Barbara the first week of July 1998. I knew what it contained. I set the box on my kitchen table, slit the tape, and folded down the edges. I lifted out a copy of my beautifully finished book. I expected to be overjoyed, laughing and dancing with a sense of accomplishment. My spontaneous reaction, however, caught me by surprise. Instead of dancing, I groped for a chair, sat down, hugged Chaucer's Host to my breast, and sobbed. I felt the release of almost thirty years of waiting.

     A few weeks later, as a lark, I went to our city library just for the fun of seeing my book on the shelf. I asked the reference librarian where I could find "Chaucer's Host" by the author "Dolores Cullen." After studying her computer screen, she wrote on a small slip of paper  PR 1875 H67 C85 1998 and the title--Chaucer's Ghost! I was too amused to correct her.