Eric Utne - Far Out Man: Tales of Life in the Counterculture
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Copyright 2020 by Eric Utne
All rights reserved.
Published in the United States by Random House, an imprint and division of Penguin Random House LLC, New York.
R ANDOM H OUSE and the H OUSE colophon are registered trademarks of Penguin Random House LLC.
Brenda Uelands comments in Chapter Three, Closer Than Kin, adapted from her essay, On Making Choices, Brenda Ueland Papers, the Minnesota Historical Society. Parts of the dialogue in Chapter 20, Meeting the Shadow, adapted from A Gathering of Men with Robert Bly, Bill Moyers Journal, January 8, 1990; A Little Book on the Human Shadow, Robert Bly (pp. 4243); and Seven Sources of Shame, Robert Bly (pp. 2324).
Photo credits are located on .
Cartoon on by Noel Ford Punch/Rothco, published in Nov./Dec. 1988 Utne Reader.
Library of Congress Cataloging-in-Publication Data
Names: Utne, Eric, author.
Title: Far out man: tales of life in the counterculture / Eric Utne.
Description: First edition. | New York: Random House, 2020.
Identifiers: LCCN 2019033630 (print) | LCCN 2019033631 (ebook) | ISBN 9780812995282 (hardcover) | ISBN 9780812995299 (ebook)
Subjects: LCSH: Utne, Eric. | EditorsUnited StatesBiography. |
JournalistsUnited StatesBiography. | Publishers and
publishingUnited StatesBiography. | Utne reader.
Classification: LCC PN4874.U895 A3 2020 (print) | LCC PN4874.U895 (ebook)
| DDC 070.92 [B]dc23
LC record available at https://lccn.loc.gov/2019033630
LC ebook record available at https://lccn.loc.gov/2019033631
Ebook ISBN9780812995299
randomhousebooks.com
Book design by Susan Turner, adapted for ebook
Cover design by Donna Cheng
Cover photograph by John Danicic Jr., courtesy Utne Family Archives
ep_prh_5.5.0_c0_r0
Life is trouble. Only death is not.
To be alive is to undo your belt and look for trouble.
N IKOS K AZANTZAKIS , Zorba the Greek
Is it possible to observe the unfolding human attack on nature with horror, be determined to do whatever you can to stop it, and at the same time know that much of it cannot be stopped, whatever you do? Is it possible to see the future as dark and darkening further; to reject false hope and desperate pseudo-optimism without collapsing into despair? Its going to have to be, because its where I am right now.
P AUL K INGSNORTH , Confessions of a Recovering Environmentalist
Weep! Weep! calls a toad from the waters edge. And I do. If grief can be a doorway to love, then let us all weep for the world we are breaking apart so we can love it back to wholeness again.
R OBIN W ALL K IMMERER , Braiding Sweetgrass
How monotonous our speaking becomes when we speak only to ourselves!If we no longer call out to the moon slipping between the clouds, or whisper to the spider setting the silken struts of her web, well, then the numerous powers of this world will no longer address usand if they still try, we will not likely hear them.
D AVID A BRAM , Becoming Animal: An Earthly Cosmology
Listening is a magnetic and strange thing, a creative force.When we are listened to, it creates us, makes us unfold and expand.A creative fountain inside us begins to spring and cast up new thoughts and unexpected laughter and wisdom.This little creative fountain is in all. It is the spirit, or the intelligence, or the imaginationwhatever you want to call it.
B RENDA U ELAND , from her essay Tell Me More
There is a land of the living and a land of the dead
and the bridge is love, the only survival, the only meaning.
The Abbess of the Convent of Santa Maria de las Rosas, from Thornton Wilders The Bridge of San Luis Rey
Could it be that one of the main reasons we are on this earth is to remember who we are? The song that sings in our blood, the song of our sacred ancestors, transcends the boundaries of a lifetime.
S TEVEN F OSTER , We Who Have Gone Before
Dear Reader,
Im probably the least likely person in the world to write a memoir, let alone publish a magazine, especially one with the word reader in its name. Why? Because Im the slowest reader I know.
I couldnt read at the beginning of first grade and was terrified that the whole class would find out. When called on by the teacher for any reasonto answer a question or read a passage from a bookId simply lower my head, break into a hot flush, and wait for the teacher to pick on someone else.
As a child I gravitated to magazines. They were more visual than most books, and I could dip into and out of them at my own pace. When I started Utne Reader, a kind of Readers Digest of the alternative press, I told the readers I was doing it to make a difference in the world, to advance both personal growth and social change, to help make the world a little greener and a little kinder.
But that was only part of the truth. I also started Utne Reader because Id become addicted to magazines, and publishing my own allowed me to hang around my office day after day reading everything from Vanity Fair to Centrifugal Bumble-Puppy. Utne Reader was my way to get free subscriptions to more than two thousand of my favorite publications, maintain my magazine-reading habit, and, I hoped, get paid for it.
Sowhy was I such a slow reader? My super-high-IQ sister, who skipped her last year of high school and got full scholarships to Radcliffe and Wellesley, was a fast reader. Why the difference?
Though Ive never been diagnosed, I suspect Im dyslexic. Malcolm Gladwell wrote about dyslexia in his book David and Goliath: Underdogs, Misfits, and the Art of Battling Giants. He called dyslexia a desirable difficulty because what is learned out of necessity is inevitably more powerful than the learning that comes easily.
Was my scrambled reading a desirable difficulty that helped me found, publish, and edit a magazine ironically named Utne Reader?
My favorite compliment about the magazine, which I heard countless times, went something like this: Utne Reader is so tuned in to whats going on in my life just at the time it arrives that I look forward to its arrival to find out whats going on in my life. We anticipated the 1987 stock market crash, the mythopoetic mens movement, the HIV/AIDS epidemic, media concentration, the pressures on the family farm, the neighborhood salon movement, online dating and community building, cyber-spying by the government, and dozens of other mainstream and countercultural phenomena. Futurists, trend watchers, and the rest of the media monitored the magazine closely.
How did we do it? How did we tap into the zeitgeist (in German, the spirit of the times)? I believe my struggle with reading led me to develop ways to sense or read the zeitgeist.
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