The TheyWayWere
Glass plate negatives unearthed in a NY tool shed open a window on Potter County’s lumbering past
Soaring Silos
The Guitar Man
Scavenger Hunt
The Last Great Place
By Michael Capuzzo
Let us reintroduce you to Matt Connor, Mountain Home’s new managing editor.
8
Mountain Chatter
By Mountain Home Staff
A white ghost, a dog named Moxie, a Gandolfini film and a rising best-seller. 14 Heart of the Mountain
By Pat Davis
Stalled out: A washroom kerfluffle.
18 Reading Nature
By Tom Murphy
John Fowles’s recollections and reflections. 20
A Question of Contentment
By Kathleen Thompson
Is anyone truely happy? A yoga instructor’s query gives one pause. 22
The Better World
By John & Lynne Diamond-Nigh
The town square as cheese shop.
Peek at the Past
By Laura Reindl
Thirty years ago, Lois Barden discovered 98 glass plate negatives in a leaky old tool shed near Rochester. Today images from those negatives provide a remarkable glimpse into a forgotten way of life.
By Ann Kamzelski
Silos: Silent sentinels of storage.
By
Jennifer Cline
Salvage experts Steinbacher Enterprises preserves old world craftsmanship.
Top: Lois Barden examines one of her discoveries. Middle: The Silo as icon of the Pennsylvania landscape. Bottom: One person’s trash is another’s treasure at Steinbacher Enterprises.
Return to the Classics
By Dave Milano
After sampling garage rock and jazz, guitarist Matt Slotkin has made a classical name for himself.
Read & Feed
By Cornelius
O’Donnell
Quick and Good: A tribute to Jacques Pepin. 36
By Dawn Bilder
During back to school days, a Lock Haven store emphasizes its connection to education
Back of the Mountain
Country road trip
P ublisher
Michael Capuzzo
e ditor - in - C hief
Teresa Banik Capuzzo
A sso C i A te P ublisher
George Bochetto, Esq.
M A n A ging e ditor
Matt Connor
C o P y e ditors
Mary Nance, Kathleen Torpy
s t A ff W riter
Dawn Bilder
C over A rtist
Tucker Worthington
P r odu C tio n M A n A ger / g r AP hi C d esigner
Amanda Doan-Butler
C ontri buting W riters
Kay Barrett, Dawn Bilder, Sarah Bull, Angela Cannon-Crothers, Jennifer Cline, Matt Connor, Barbara Coyle, John & Lynne Diamond-Nigh, Patricia Brown Davis, Steve Hainsworth, Martha Horton, Holly Howell, David Ira Kagan, Roberta McCulloch-Dews, Cindy Davis Meixel, Suzanne Meredith, Fred Metarko, Karen Meyers, Dave Milano, Tom Murphy, Mary Myers, Jim Obleski, Cornelius O’Donnell, Audrey Patterson, Gary Ranck, Kathleen Thompson, Joyce M. Tice, Linda Williams
P hotogr AP hy
Bill, Crowell, James Fitzpatrick, Ann Kamzelski
A dvertising d ire C tor
Todd Hill
s A les r e P resent A tives
Christopher Banik, Michele Duffy, Jackie Patt
i ntern
Nora Strupp
b e A gle Cosmo
Mountain Home is published monthly by Beagle Media LLC, 39 Water St., Wellsboro, Pennsylvania, 16901. Copyright 2010 Beagle Media LLC. All rights reserved.
To advertise, subscribe or provide story ideas phone 570-724-3838 or e-mail info@mountainhomemag.com. Each month copies of Mountain Home are available for free at hundreds of locations in Tioga, Potter, Bradford, Lycoming, Union, Clinton, Wyoming, and Sullivan counties in Pennsylvania; Steuben, Chemung, Schuyler, Yates, Seneca, Tioga, and Ontario counties in New York. Visit us at www.mountainhomemag.com.
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The Last Great Place Welcome Home, Matt Michael Capuzzo
Like Rip Van Winkle coming down off a forested Pennsylvania ridge, I panicked when I reached the ultra-modern BaltimoreWashington International Airport. I didn’t have my ticket! “Those are all online now,” the man said flatly as a young woman held her I-phone against a scanner and boarded the flight to Houston ahead of me. As I headed out on a book tour promoting The Murder Room, it appeared the world had warped into another dimension in the years I spent writing in the mountains.
Now I’m sitting in a Houston hotel room as I write this, done with Baltimore and New York City, bound for Phoenix at dawn, Philadelphia the next day and finally home to Wellsboro before trips to Boston, New
Haven, and Seattle. I’m eager to return to the land where internet is the fate of a brown trout, a web is monitored overwhelmingly in the dew-lit dawn by spiders, and the tweeting and twittering is done by birds. Nothing is more striking in the brave new digital world than sophisticated urban man reduced to technological tweets, blips, squawks, and semi-literate grunts like a nattering, nervous, reverse-evolution Neanderthal. Turns out the brain moving too fast as well as too slow misses what really matters.
What matters to Mountain Home and its readers is story, the kind of story that sticks in the gut whether tapped into an email or onto a stone tablet. Storytelling is in danger of becoming a lost art, which makes my introduction of our new managing editor, Matt Connor, ever more significant to our readers and precious to me and Teresa.
Matt, 45, is a master storyteller, author, journalist, bon-vivant, imminent cancer survivor, and friend. He collects vintage cocktail glasses, and makes a mean Martini and Manhattan. But mostly he tells stories with flare and talent and heart few possess. Of course, you know that if you’ve been reading these pages, where Matt has written pieces on restaurants, a comeback-fromdead Chevy dealer, award-
winning stories on Presidential fishermen and lost post-World War II era pilots.
What makes a storyteller as good as Matt Connor? He comes by his talent honestly and with hard work.
Matt writes the popular history column for the Lock Haven Express. His lovely “Peek at the Past” pieces will find book form one of these days.
He’s the author of a nonfiction Amazon bestselling book, Watering Hole: The Colorful History of Booze, Sex and Death at a New Jersey Tavern, a classic work of Jerseyana.
He has written for national magazines, was hired by billionaire Malcolm Forbes to be editor-in-chief of Forbes’ corporate in-house magazine, and won more writing awards than he can easily remember, as well as the prestigious Rebecca Gross Award for Outstanding Achievements in the Field of Journalism, presented by his alma mater Lock Haven University.
These are substantial and tangible achievements, but Matt works from the intangible secret of all great writers. Tennessee Williams put it best: “The heart is an instrument.” One meant to be used.
Matt, filled with ability, energy, and gusto for life, uses his with style and skill on every story.
We’re lucky to have him lending his talents to Mountain Home, a storyteller’s home, his natural habitat.
Welcome home, Matt.
He collects vintage cocktail glasses, and makes a mean martini and Manhattan. But mostly he tells stories with flare and talent and heart few possess.
MOUNTAIN Ch ATTER
“Ghost” of a Chance
If the group’s origin story on its website is to be believed—and that’s a big “if”—White Ghost Shivers began in the late 1990s with the meeting of three men—a “Metalhead,” a punk rocker and an YNGWIE fan—who all, incongruously, shared a passion for earlyand mid-20th Century music. Go figure.
Today the band—expanded from that original group of three (Westen Borghesi, Jeremy Slmenda and Omar Leal) to an eightmember ensemble—produces what they describe as “a joyous mixture of absurd and sublime” which “gracefully creates a musical amalgam of Hokum Blues, Hillbilly Swing, Country and Hot Jazz.”
The Austin, Texas-based group tours extensively, and on September 12 they’ll appear at the Wellsboro High School Auditorium at 2:30 p.m. Based on their reviews, WGS—as their fans refer to them—is really something to experience.
“Pinwheeling their vaudevillian delivery to Western swing, bluegrass, hot jazz, blues, hillbilly, and ragtime, Austin’s White Ghost Shivers have proven themselves a formidable live band over the last half-dozen years,” wrote David Lynch (presumably not the surrealist movie director) in the Austin Chronicle a few years ago.
With a track on an upcoming Sara Hickman CD also featuring Willie Nelson, Shawn Colvin, and Edie Brickell & New Bohemians, WGS may be about to break out on the national scene. Here’s a chance to see them when they’re on the cusp of the mainstream.
Oops & Etc.
Please note for clarification that last month’s “In Perfect Harmony” feature contained an unidentified photo of bluegrass band Grass Stained Genes. The group consists of Noah Deihl, Pete McLeland, Micha Sargent, Loren Slater, “Big Pete” McLeland, and Ian McLeland.
When: Sunday, September 12 Phone: 570-724-4939 Website: www.wellsborocca.org
HBO Doc Looks at Civil War Vet
Former Sopranos star James Gandolfini is one of the names behind a new film that touches on the tragic story of a Potter County Civil War veteran. Scheduled to air on HBO on Veterans’ Day, November 11, is War Torn , a documentary on post-traumatic stress syndrome.
Among other stories recounted in the film —which takes a look at American military conflicts from 1861 through the present—is a section on Angelo Crapsey, a Pennsylvania Civil War vet who is one of the earliest cases of post-traumatic stress recorded in the U.S. His story was told in the recent book Pathway to Hell
Mountain Home contributor John Snyder assisted producer Caroline Waterlow on research for the film. And Gandolfini is no stranger to HBO war documentaries, having earlier exec produced Alive Day Memories: Home From Iraq.
What: White Ghost Shivers in concert Where: Wellsboro high School Auditorium
A Dog with a Lot of Moxie
“Give me the luxuries of life,“ legendary architect Frank Lloyd Wright once said when in a particularly Noel Cowardesque mood, “and I will willingly do without the necessities,“ Wright was less known for his witticisms than for his extraordinary buildings, including the famous Fallingwater House, built over a waterfall in Mill Run near Pittsburgh between 1936 and 1939. Today Fallingwater is an inspiration for creative types of all stripes, so it’s perhaps not surprising that it spawned a children’s book, Moxie: The Dachshund of Fallingwater, authored and illustrated by Cara Armstrong. Armstrong, it should be said, is not only the mind behind this, the first children’s book about Fallingwater, but also the former curator of the remarkable property. And “Moxie Unleashed!”—the latest exhibition at The Gallery at 15 West, located at 15 West Street, Galeton, Pennsylvania—will feature twenty-eight original color illustrations from the charming book, which was released in April.
The show runs through October 1, and a series of free receptions—including a kid-friendly event celebrating “the dog days of summer” on September 4—include book sales and signings benefiting a local no-kill animal shelter. It’s all part of Potter County’s annual Galefest event supported by the Galeton Chamber of Commerce.
~Nora Strupp
What: Gale Fest
Where: John J. Collins Sr. Memorial Park
When: September 3-4
Phone: (814) 435-2603
Email: visitgaleton@yahoo.com
BESTSELLER
Who knew we had so much juice with the book-buying public?
Just weeks after it landed on the cover of the August Mountain Home, The Murder Room, a new book by our publisher Michael Capuzzo, landed on the New York Times best seller list at No. 11!
“This book wouldn’t be where it is without the readers of Mountain Home,” said Mike. Thanks to one and all.
Window On Another Time
A lost treasure trove of glass photo negatives brings a bygone world to life
By Laura Reindl
This is the story of an unlikely discovery, and of a traveler through time that is today providing a remarkable glimpse into a lost and almost forgotten way of life. It’s a story with origins that date back over one hundred years, but for our purposes begins on a cold day on the shores of Honeoye Lake, near Rochester, New York, in the 1970s.
Here Lois and Bob Barden stand shivering on Bob’s family homestead a few weeks after the deaths of Bob’s grandparents, Robert Barden and Isabel Mayo Barden (known to the family as Grandma Mayo).
The couple has arrived here to help settle the estate.
The lake property upon which the couple now stands has been in the family for multiple generations and is now owned by Bob’s father. But there is a good deal of “stuff” lying around and the family is beginning the laborious job of sorting and clearing it all out.
Take, for example, the tool shed out in the yard. Bob’s father tells him if he wants any old tools, he should just go out and get them. Lois is tagging along, but she’s not exactly thrilled about it.
“This is stuff that’s older than dirt and was probably invented when God was in knickers,” she says. “It was cold and damp and, man, I was miserable. And I’m standing there kicking dirt, being kind of a snoot, I guess.”
Then an old box catches her fancy. It
is about eight or nine inches across and a foot high, and appears to hold a number of dirty old windowpanes.
“I have no idea what ever possessed me to reach down…but when I did my heart went right up in my throat,” she says.
Through the dirt and grime and the damage caused from years spent in an open box in a leaky shed, Lois can make out dim negative images on the glass: images of trees and people and machinery.
As soon as Lois realizes that her discovery is something more significant than a pile of dirty glass, she hurries back to the family house with her husband, and excitedly shares the news.
Did anyone else want the old photographic plates, she asks? And if not, could she have them?
“Everyone said sure,” she says. “They didn’t want them.”
At the time she isn’t even sure what the glass plates are, just that they hold a strange fascination for her.
“They were so impressive…I was just taken with them,” she says. “I had no idea they had any value.”
She takes them home, sticks them in a closet and thinks little of them for the next thirty years.
Window on a mysterious world
Fast forward three decades. Professional photographer and adjunct instructor Harry Littell is teaching a photography class at Tompkins Cortland Community
College in Dryden, New York. Part of the class deals with historical photography, so he invites his students to bring in any examples they might have lying around. Many students bring in old negatives to share with the class, but one collection in particular catches his attention.
One of his “mature” students had carried in an old box with eight 8 x 10 inch glass plate negatives inside. The negatives were “so rich in detail, opening a window on this very mysterious, foreign world,” recalls Littell.
Intrigued as he was by the eight fragile plates, he was truly shocked when he learned this “nontraditional student” had ninety more just like them at home.
Lois Barden’s “old box of windowpanes” salvaged from Grandma Mayo’s tool shed was getting its first exposure to the “outside world” in decades.
Littell thought the images were stunning.
“He went out and bought himself a new scanner,” said Lois. “He was in for the long haul. He took these negatives and he contacted someone from the historical society and she told him how to restore them. Cotton balls, distilled water, and I think it was alcohol. He cleaned all of them and wrapped them individually in conservation paper and put them in conservation boxes.”
Seen today, it’s easy to see what motivated Lois to save the cache of negatives and what inspired her professor to help restore them. The photographs
truly are something special, even to an untrained eye. The images transport the viewer back to rural Pennsylvania at the turn of the century.
Men, women, and children pose stiffly in Victorian wear in front of piles of hacked-up lumber, stately trees, and plank shanties. Images of stripped, clear-cut land show how apt the nickname the Pennsylvania
Harry Littell, Lois Barden, and Ronald E. Ostman examine images from Grandma Mayo’s tool shed.
heart of the Mountain
Mens’ Room Mixup
Patricia Brown davis
It’s September, a month that makes me recall my kids’ “What I did on my Summer Vacation” papers at the start of the school year. Neither their teachers nor mine ever assigned a “My Most Embarrassing Moment” essay. If they had, I know exactly the tale I would have told.
My husband and I and another couple were vacationing on Aruba in 1970. One evening while having dinner in a local restaurant, still feeling the affects of the long hot summer day and plenty of refreshments featuring the island rum, I heard the call of nature.
Spoken English wasn’t as popular as their Papiamento or Dutch—the official language. I asked the waiter where the restroom was. He understood me better than I did his answer, but there was only one hallway (on the right) from the dining room, so I turned, and made an immediate right into the first door I came to.
Soon, sitting in a quiet stall, I began to feel relief from the terrible pressure on my bladder. Then I heard someone enter the restroom, and, just as I put my hand on the stall’s door handle, I heard two male voices.
My first thought: “What are those men doing in the ladies room? Then another male voice joined the two. My fuzzy brain finally clicked; “Oh my God; I’m in the men’s room! What’ll I do?” My first thought: “Just stay put and when they all leave come out of the stall.”
But there seemed to be a constant stream of people coming and going. I felt trapped. Even if I dared to make a verbal plea, I didn’t know their language.
Back at the table, my party suddenly noticed I’d not returned. They discussed what to do. The other woman said, “Well, she went in the right direction; I’ll go check and see if she’s OK.”
She finally returned; “She’s not in the
ladies’ room.” More table discussion. Finally, my husband said, “You don’t suppose she went into the men’s room? I’ll go check.”
Meanwhile, I remained in the stall, contemplating for my mad dash to freedom, when I heard the door open again.
“I’m never getting out of here!” I thought in great frustration.
The men stopped talking with the arrival of this latest “visitor.”
“Patrice! Are you in here?”
It was my husband!
I meekly replied, “Yes!”
“Damn it all! Stay in there until these men are done. I’ll let you know when it’s OK to come out!”
Time passed. He finally said, “Coast is clear.”
I came out of the stall, quickly washed my hands, finally noticed the urinals, and listened to a long streak of derisive words as we returned to the table.
My face was hot with embarrassment, but the room was too dark for anyone to see. However, I was sure every man in the place was eyeing me with amusement.
After several minutes, I managed to relax enough to chuckle about my predicament, which, of course, they’ve never let me forget.
Patricia Brown Davis is a professional musician and memoirist seeking stories about the Wellsboro glass factory. Contact her at patd@mountainhomemag.com.
Pat and company, Aruba, 1970.
2010 DISTINGUISHED
VISITING LECTURERS IN CRIMINAL JUSTICE
Michael Capuzzo and Richard Walter
Monday, September 13th, 2010 * Straughn Auditorium, 7:00 P.M.
FREE AND OPEN TO THE PUBLIC
Michael Capuzzo, a New York Times bestselling author and 4-time Pulitzer Prize nominee will be the featured speaker for the kickoff of the Department of Criminal Justice’s 2010-2011 “Distinguished Visiting Lecturer in Criminal Justice” series. Capuzzo’s latest book, The Murder Room: The Heirs of Sherlock Holmes Gather to Solve the World’s Most Perplexing Cold Cases, is about the Vidocq Society, an international crime-solving organization that meets monthly in Philadelphia over lunch to discuss cold case murders and assign its membership to assist law enforcement across the world. Says Stephen White, a New York Times bestselling author, about the book…“In the superb and tantalizing The Murder Room , Michael Capuzzo dares readers to believe the...stories of the heartbreaking cold cases that have been investigated by the forensic dream team that is the legendary Vidocq Society. The once forgotten crimes are horrendous, each bigger-than-life detective more outrageous than the next, and the circuitous paths they take to find long-delayed justice are impossible to forget.”
Also appearing in this unprecedented gathering of author and real-life crime sleuth is forensic psychologist and crime assessment expert Richard Walter, one of the original three co-founders of the Vidocq Society. Walter and forensic sculptor Frank Bender burst into the world of cold case crime fighting when they teamed up to offer a profile and bust of mass murderer John List to the TV show America’s Most Wanted in 1989. List murdered his Westfield, New Jersey, family consisting of his mother, wife, daughter and two sons on November 9, 1971 and then escaped into obscurity for 18 years until America’s Most Wanted TV program agreed to highlight John List for 10 minutes in their May 21, 1989 episode. Thanks to Richard Walter’s dead-on profile and Frank Bender’s uncanny and eerily accurate bust of John List, List was quickly arrested in 1989, brought to trial and convicted of the murders of his family. The List case has been aired on Court TV (now TRU TV), TLC and CBS TV.
Michael Capuzzo and Richard Walter will stay after their 1-hour presentation to autograph books and pose for photographs. If you are a true crime aficionado, don’t miss this once-in-a-lifetime opportunity. Books will be available on-site for purchase.
Mansfield University criminal justice students will also have an opportunity to hear from Michael Capuzzo and Richard Walter in room 110 of Retan Hall, from 2:30 – 3:45 p.m.
Sponsored by the Mansfield University Department of Criminal Justice Administration, Scott Thornsley, Ph.D., Chair.
Speaking of Silos
The majestic icons of Pennsylvania farm country
Photos and Text by Ann Kamzelski
While traveling though the beautiful rolling hills of Pennsylvania, one often comes upon fertile valleys dotted with farmsteads punctuated by their silos. These silos have become icons of the rural landscape. Some farms have only one, but frequently two, three, or even six of these storage units will grace the vicinity of the barns. They come in a myriad of colors, sizes, roofs and building materials.
In the 1870s trenches lined with hay or straw were used to store silage. The
first upright silos were built in the 1880s. These square wooden structures proved to be poor containers for the silage they were meant to preserve.
Soon round- or octagon-shaped staved styles emerged. Silos increased in popularity so fast that the numbers across the country grew from about 90 in 1882, to over 400,000 by 1903, when clay tile and cement silos became available.
For almost 50 years the tall cement silos were the standard. Then in the 1950s metal fiberglass-lined silos were introduced. The familiar blue Harvestore
silos were more expensive than the cement versions and, at first, were status symbols for wealthy farmers.
As silos aged or needs changed, farmers replaced the older ones with newer types. Lots of farms have several kinds of silos side by side, with the unused wood or tile ones next to the newer cement or metal versions.
Unfortunately, today’s trend is back to the trenches, which are lined with plastic and are much cheaper to construct.
But for now, the silos still continue to enhance the countryside
REAdING NATURE
The Name Game
Tom Murphy
Ihave talked about my frustration about needing to learn the names of the wildflowers all over again each year as they bloom on schedule. They return to the fields and woods like old friends whose names I can’t remember, though they are on the tip of my tongue. Being able to identify the plants, insects, and birds by name seems like such a fundamental way to pay attention to nature.
So you can imagine my surprise at statements like this one in John Fowles brief book The Tree: “Even the simplest knowledge of the names and habits of flowers and trees . . . removes us a step from total reality towards anthropocentrism; that is, it acts mentally as an equivalent of the camera viewfinder.”
Lopez. I enjoy reading this book again from time to time because of what is says about creativity.
“Anthropocentrism” (based on the same Greek word as “anthropology,” the study of people) means seeing everything from the point of view of how it affects people. The camera view finder is a good analogy; try making a frame by putting your thumbs against your index fingers and looking through it. So much of what you see is left out of the frame.
First published in 1979 along with photographs of trees (Ecco is coming out with a new edition this year), this collection of recollections and reflections, which begins in Fowles’ father’s garden and ends in one of the few remaining patches of old-growth forest in England, has been republished a few times without the photos. At the end of this month a new paperback edition will appear with an introduction by the contemporary nature writer Barry
Fowles contrasts the scientific and artistic relationship to nature, comparing the scientific to the domesticated, which he associates with his father’s highly-managed, suburban garden, especially his very successful fruit growing. Outside that garden, Fowles developed a love for wild nature. He sees a close connection between art and the wild. For him the most important element of art is not the art object, which can be analyzed and controlled, but the actual process of creating it, which is inside the artist, wild and free and eluding capture.
Does Fowles mean that science is evil and we should wander the forest in blissful ignorance? Hardly. Though he was already famous as a novelist (Remember The French Lieutenant’s Woman?), for many years he was curator of the Lyme Regis Museum, which emphasized geology, in his hometown in Dorset in the South of England. But he is concerned that we protect not just the wild in nature, but the wild inside ourselves and that we not succumb to the “dreadful and puritanical approach” that requires that out relationship to nature “must be purposive, industrious, always seeking greater knowledge.” We should sometimes just be there in the wilds of the forest to resonate with the wild within us.
Tom Murphy teaches nature writing at Mansfield University. You can contact him at readingnature@mountainhomemag.com.
Yogamama
Says Disowning My Happiness
Kathleen Thompson
Aweird thing happened at the yoga class I attended in Asheville, NC, last month. The teacher started the class by setting the context: The theme that day was “Gratitude.”
She started out by saying, “Who in here is really, truly happy?” I immediately raised my hand, but then quickly withdrew it when everyone began to snicker, (the implication, as I understood it, was that nobody could be really and truly happy).
She continued by saying that if anyone in that room was really and truly happy, she would gladly surrender her position as teacher and let that person teach the class because they would be more in a position to teach a yoga class than she was.
She went on to explain that if we did want more happiness in our lives, a surefire way to get that happiness would be to start expressing gratitude every day: gratitude for the miracles of our bodies, our friends, families, etc.
But it buzzed in my head for the whole class (and beyond, obviously) how I had disowned my own happiness in the face of peer pressure. I was embarrassed to admit that I was (and am) really and truly happy.
But the question set up doubts for me. Am I happy? Really and truly happy? And if so, how is that even possible given war, environmental degradation, human rights violations, and all the myriad sadnesses in the world.
I kept posing that question to myself over and over, and the answer I always came back to was: YES. There is something at the core of my life that radiates pure happiness. Is my life perfect? Of course not.
Do I get pissy and want things to be
otherwise than they are at times? Most definitely!
But that doesn’t in any way diminish my core happiness. I think it was wired in me from birth. I believe it’s a genetic pre-disposition, because how else can I explain this?
I have a lot to be grateful for, and hopefully I express that gratitude daily. But it really bothers me (now) that I couldn’t admit it in a group of people for fear of…
For fear of what? Having to defend myself? Of looking like a Pollyanna or a ninny? Of being condescended to in some way?
I wondered: Am I a closeted Happy Person? Afraid to tell people for fear of their reaction? Am I afraid of being the big old target of somebody’s Happiness Pea-Shooter?
I wonder what would have happened in class if I had kept my hand up and said, “Me! I’m really and truly happy! What’s not to be happy about? I’m healthy, alive, about to do some fabulous yoga. I have people who love me, good food to eat, a nice, but modest house and really lack for nothing essential.”
I wonder what would have happened. Would somebody else have been empowered to claim their own happiness, too? I will never know. What I do know is that I will NEVER disown my happiness again.
I’m happy, and I know it, and I’m clapping my hands, dammit.
Kathleen Thompson is the owner of Main Street Yoga in Mansfield, PA. Contact her at 570-660-5873, online at www.yogamansfield.com, or e-mail yogamama@ mountainhomemag.com.
If you’ve been thinking about buying a home, don’t wait another minute. Rates are at near historic lows. Whether you’re buying or building, we have mortgage options for every lifestyle and every budget. Our mortgage specialists are among the most experienced in the region. For more information on our many mortgage options, contact one of our mortgage specialists, your local branch office or apply online.
TThe Better World Two Parables John & Lynne diamond-Nigh
here are yes people and yes places, where friendship abounds and where opportunities (once earned) grow on trees.
And then there are no people and no places where merit and pluck are assailed like viruses by the antibodies of an anxious, antiquated status quo.
As it becomes vividly clear that the “culture wars” of the past couple of decades have not achieved the aims that either side expected, but rather have inflicted an unhealing crevice down the length of our democracy, two words— town square—crop up in a variety of writings and contexts, proposing a truce, seeking some remedy.
society humming and healthy.
Guinness insists that the survival of this, or any great democracy in the next fifty years, will depend on our ability not to push our side to victory, but to address deep, often fiery, poisonous differences on a scale that is quite new. There are good fights to fight, but we must learn how to differ as grown-ups. His latest book, significantly, is called The Case for Civility
Don’t get us wrong; we both re-read the Odyssey each year, we love old barns and Fanny Crosby hymns and winding down two-lane roads in northern Pennsylvania. Not the point. What is the point is when that nostalgia becomes an index of our citizenship.
The town square should be less like the art museum and more like the cheese shop
There are good fights to fight, but we must learn how to differ as grown-ups.
What is this town square? For some it is nostalgia for a chestnut-bordered square where church, bank, court house and band shell stand as emblems of communal order and esprit. In short, tradition.
For these, a new town square would look exactly like the old—a Neverendingspringtimeville of fanciful gingerbread facsimiles. The quiet banker you sit beside at church would wear the same frayed suit. False teeth would still be wooden.
For others, like the Evangelical philosopher Os Guinness (yes, greatgrandson of the Dublin brewer) town square means something much richer—a return to the first principles of American democracy itself, the grandly original provisions of tolerance already in place for keeping a many-sided, many-notioned
(see two previous columns). More yes, less no. The art museum concept was a clear-cut instance of ostracism. We were Americans. They were French. They had primrose nail-polish. We had none. And under it all was an acerbic nostalgia for a time when France, not America, was queen of the world. So keep us out, show us we aren’t as powerful as we might think.
The cheese shop, by contrast, is the ideal town square. There it is the merit of ideas (with some really gooey cheese added on), goodwill and integrity of spirit, regardless of point of view, that most enhances the common good.
John writes about art and design at serialboxx. blogspot.com. Lynne’s website, aciviltongue. com, is dedicated to civility studies.
A RTS & L EISURE
The Making of a Musician
Matt Slotkin sampled rock and jazz before making his mark with classical guitar
By Dave Milano
They say that what goes around comes around, and what went around for the young Matt Slotkin was a home life unusually rich in music and culture.
“My father is a research scientist,” says Slotkin. “He also plays the harpsichord and clavichord, is an amateur folk and blues guitarist, and an avid classical music fan with a 3,000 CD
would become a musical master of sorts, turning his academic and cultural roots into a Doctorate of Musical Arts, a busy performance career, and two university teaching positions.
A gifted classical guitarist, Slotkin is director of the guitar programs at Mansfield and Bloomsburg Universities, a teacher at the New York City Guitar School, and the guitar half of two unique musical duos: Dez Cordas, with bassist Craig Butterfield, and Duo Montagnard, with saxophonist Joseph Murphy.
In the demanding and highly competitive world of classical music, Slotkin has acquired a reputation for exceptional musicianship, and for being a ground-breaker, premiering numerous modern compositions. He has performed on four continents and been called “...one of the most wellrounded talents in the country” by Nicholas Goluses, a guitar professor at the Eastman School of Music. His guitar work has been variously described as “brilliant,” “exceptional,” and “elegant.”
Early on, Slotkin showed musical affinity, and at the age of four he was already beginning to play the piano. From there he made rapid advances in his classical music education. But boys will be boys, and before long the developing classical pianist came under the spell of other musical pursuits.
At ten he abruptly abandoned the piano for the electric guitar. Slotkin first began taking lessons from his father, then from a local music store owner. Soon he was playing in a garage rock band (mostly driven by a keenness for the music of rock icon Rush).
For Slotkin—for a while at least—rock ‘n roll was king. But it didn’t rule him for long.
“Rock didn’t cut it for me,” he says, “I needed something else.”
Musician on page 30
In the mold of his father and his first classical guitar teacher, his musical proclivities are difficult to categorize.
So from garage rock, Slotkin moved on to jazz, playing in a high school ensemble. His studies there kept him happily immersed in music, but jazz, he discovered, was not perfectly suited to him either. In the end Slotkin realized that following his heart meant going back to his roots, and he turned his attentions back to classical music. Soon he was taking up the classical guitar.
His first classical guitar teacher, he said, was “brilliant and eccentric… [an] autodidact who understood more than usual about music theory and history, and incidentally, played the guitar upside down.”
Somewhere in the territory between traditional classical guitar and his teacher’s unique expression of it, Slotkin found a comfortable fit, and he moved easily into studies at the Eastman School of Music.
“I was really happy to find an atmosphere at the university level conducive to seriousness about musical studies,” he says. Indeed, that is precisely what Slotkin now most enjoys from the other side of the classroom, as a professor of guitar and music at Mansfield and Bloomsburg Universities.
“I hold my students to a high standard,” he says, “and I enjoy their high level of achievement. It is very satisfying.”
But Slotkin is not exactly a traditionalist. In the mold of his father and his first classical guitar teacher, his musical proclivities are difficult to categorize. Call him a non-traditional traditionalist. Slotkin performs much classical music, but just as often he veers from the conventional into other musical territories. The repertoires from his two ensembles, Dez Cordas and Duo Montagnard, are—to say the least—
multifaceted. A single performance might include Bach, Béla Bartók, Chick Corea, and Appalachian folk tunes.
So between his university efforts to create a new generation of classically trained musicians, Slotkin fans the fires of creativity by embracing any number of musical styles, and by promoting and performing his own distinctive, entertaining, and always superb music.
Oh, and while Slotkin’s youthful infatuation with the music of Rush has long since faded to distant memory, his partner Craig Butterfield remains a big fan…
What: Matthew Slotkin & Craig Butterfield in concert
Where: Alfred University in Alfred New York
When: Sept. 19 at 3 p.m.
Phone: 607-871-2175
Website: www.alfred.edu.
Dave Milano is a former suburbanite turned part-time Tioga County farmer. You can contact him at someplacelikehome@ mountainhomemag.com.
Musician continued from page
F OO d & dRINK
Read & Feed
Let’s Hear it for Jacques Pepin
Cornelius O’donnell
I’ve been writing this column called Read and Feed for a couple of years. In it I try to highlight cookbook writers and their books that are easy to cook from—no complicated instructions or exotic ingredients.
Why has it taken me so long to get to the best example of a chef-writer whose output is not only prodigious, but each is a teaching tool? I am talking about an old friend, French-born Jacques Pepin, whose career has had one goal—to produce competent and creative cooks.
His early books La Technique (1976) and Le Methode (1979), were virtually a professional chef’s cooking school between
photographs. These may not have been designed for home cooks (although I learned a lot from both). The two volume set The Art of Cooking (Borzoi, softcover, 1987) is a valuable update of both books and very pricey in the used book market.
As you’ll read, Jacques soon turned his attention to the two most important aspects of contemporary home cooking: healthful food and quick preparation. I promise you, look into any of his books highlighted below, and you’ll cook healthful and delicious meals.
Have Recipes Will Travel
You may not be aware that there are chefs and cooking personalities who roam the country going from one local cooking school to another and giving classes at each stop. Jacques was the most acclaimed—and sought after—of these. Despite this grueling schedule, he managed to get a Master’s Degree from Boston University and he began to teach there.
To gain a wider audience, he accepted an offer from San Francisco’s KQED and began a string of 26episode televised cooking programs starting about 1991 and called
Learn More
Some culinary students spend a couple of years in classes and—voila—they are called Chef. Not so when Jacques was growing up in France. His family owned a restaurant but he was apprenticed as he hit his teens and learned all the positions in a professional kitchen from the potato-peeling up. He certainly learned, as he became chef to DeGaulle, and at the Plaza Athenee in Paris. Barely in his twenties, he decided to come to New York to seek fame and fortune—and to teach others what he learned. Read The Apprentice: My Life in the Kitchen, a riveting 2003 autobiography published by Thorndyke Press). And try the simply beautiful book Chez Jacques: Traditions and Rituals of a Cook (Stewart, Tabori and Chang, 2007), a cookbook featuring his favorite recipes and presented in a storytelling format with many illustrations.
Jacques lives in Madison on Connecticut’s coast with his wonderful wife Gloria, and they have a full television studio on their property. At our age who needs a long commute, right Jacques?
Today’s Gourmet. Each of the series resulted in a new Jacques book. Ergo, a listing of his books would fill the remaining space on this page. The book from the 2001 series, Jacques Pepin Celebrates, won the prestigious James Beard award. (A couple of the series and resultant books featured the chef and his daughter Claudine.)
See Pepin on page 30
I learned about Jacques—and first met him—in the 1970s when he was the House Beautiful chef and brand new to the USA.
Pepin continued from page 28
Julia and Jacques
Pepin’s profile was enhanced when he was paired with the aging Julia Child for a charming series that resulted in the book Julia and Jacques Cooking at Home published by Knopf in 1999. The “he says and she says” format is great fun. Meanwhile a revised Complete Techniques appeared in 2001.
Jacques has always emphasized good health in his writings, and he is in great shape for a man who is exactly my age. I recommend The French Culinary Institutes Salute to Healthy Cooking (Rodale, 1998); Jacques was one of the contributors along with three other acclaimed chefs. And Jacques is now a dean at the Institute. A Fare for the Heart Cleveland Clinic Cookbook appeared in 1988; Simple and Healthy Cooking (with illustrations by the talented author!) was published in 1994.
A Local Connection
I learned about Jacques—and first met him—in the 1970s when he was the House Beautiful chef and brand new to the USA. His mentor was the magazines wonderful food editor Helen McCully and her office and test kitchen were a few floors above Corning’s then-New York office. I was determined to hold a fund raiser in Elmira for the Arnot Art Museum; Jacques agreed to come— gratis—and I still recall the cauliflower soup (among other dishes) he produced in the auditorium at the Elmira Psych Center.
Faster, Easier, and Fresher Than Ever
Jacques interest in “quick and good” cooking started with his first conventional cookbook in 1980, Everyday Cooking, my own copy of which is not only well-thumbed but food-spattered. Then there was The Short-Cut Cook, a 1990 Morrow release.
As you can see, Jacques is far from a one or two-book wonder. These days I find I’m drawn to Jacques’ newest pair of books— again based on his TV shows—Fast Food My Way (Houghton Mifflin, 2004) and More Fast Food My Way (HM, 2008).
Here is a lightening-fast no-cook hors d’oeuvre from the latter book’s minute recipes section. Can you get any faster? You may taste this at the Soiree on November 6th to benefit Wellsboro’s Soldiers and Sailors Hospital—I’ll be rolling these at Dunham’s Furniture—with Pat Davis as the piano accompaniment!
Chef Pepin’s Salmon Rolls
Using a good sharp vegetable peeler, cut lengthwise strips from 1 unpeeled (but washed) zucchini or 2, if small. Stop when you reach the seeds in the center. Rotate the zucchini and repeat the procedure. Discard seeds. Place a long strip of zucchini on the table. Top it with a small slice of smoked salmon; it should cover only the center portion and stick out a little beyond it on either side. Spread about 2 teaspoons of whipped cream cheese on the salmon and add a sprinkling of salt and freshly ground black pepper. Roll up the zucchini slice, encasing the salmon and cream cheese into a tight roll. Cut down the center and arrange both halves cut side down and green side up on a serving platter. Repeat with the remaining zucchini strips. Serve the rolls on their own or with thin sesame crackers.
Note: I’ve used a dab of salmon flavored cream cheese instead of the plain, and sprinkled a little chopped dill and chives over the cream cheese.
Chef, teacher, and author Cornelius O’Donnell lives in Corning, New York.
hOME & REAL ESTATE
Salvage As a Family Affair
When old buildings come down, Steinbacher Enterprises saves pieces of the past
By Jennifer Cline
Newer isn’t always better, and among those who help to preserve the craftsmanship of those who came before is Steinbacher Enterprises, in the Nippenose Valley near Collomsville.
The third-generation company demolishes houses and commercial properties throughout central and northern Pennsylvania, many of them historic buildings that have fallen into
deep disrepair and must be torn down. But when it does so, it salvages every piece that can be reused, from molding and lights down to hinges and stair treads.
The items are in demand.
“We have people come from all over the place,” said Joslyn Dougherty, whose grandfather founded Steinbacher Enterprises. “You can’t find these things anymore.”
Things like hand-turned porch posts
that can’t be equaled by their modernday, mass-produced counterparts.
The Steinbacher salvage yard attracts attention from those interested in restoring historic homes, finding replacement parts for their own home, and antique dealers from across Pennsylvania and from surrounding states.
The practice not only helps to preserve slices of the past, but it also
Steinbacher Enterprises Estimator
Dan Hannan and Excavation
Foreman Matt Dougherty
©Bill Crowell
epitomizes the ideals of sustainable living and the “reduce, reuse, recycle” mantra, keeping tons of materials from the landfill.
Dougherty’s grandfather, who founded Steinbacher Enterprises in 1958 (the company was incorporated in 1971), ventured in several arenas, including trucking and coal.
“My pap had all sorts of different businesses…He dabbled into anything, because they were hard times in that era,” she said. “Then he got one big job that put him on the map in Williamsport.”
When her grandfather passed away, he left the business to Dougherty’s father, David, and one of her uncles. Several years ago, David bought sole ownership of Steinbacher Enterprises.
“He’s worked here his whole life,” Dougherty said.
Of David Steinbacher’s five children, three, including Dougherty, continue to work for Steinbacher Enterprises.
“It’s a really family affair,” Dougherty said.
Visit Steinbacher Enterprises at 8130 State Route 44 Highway, Williamsport. Call 570-745-7445 or e-mail steininc@ovalinternet.net.
Old Lycoming Township resident Jennifer Cline is an occasional contributor to Mountain Home.
Salvage continued from page 32
©Bill
Crowell (3)
M ARKET P LACE
Shop Around the Corner A Store For All Ages
By Dawn Bilder
Adaycare group of two- and three-year-old children walk by a store at 115 East Main Street in downtown Lock Haven, Pennsylvania. Some of the children are in an oversized cart seating six, and some are connected in pairs, with protective ropes keeping them together.
They stop as a collective group in front of the store, as though a silent signal has been called. Pointing at its front windows, they chatter with each other about their discoveries: there’s a wooden, three-foot long No. 2 pencil, toy tool boxes with wooden tools inside, puzzles, growth charts, dinosaur stencils, and a set of dolls with switchable magnetic clothes. Even toddlers understand that they are beholding a very special, exciting store.
Lock Haven native Paula Neyhart
opened The Bus Stops Here in 1993. It’s composed of nothing but educational materials, and it’s open year-round. In July of this year, she moved her store to the new Main Street location in pursuit of extra space, and on August 5th Neyhart celebrated the store’s seventeenth anniversary.
The Bus Stops Here isn’t just a store for teachers. Among many other treasures, there are art supplies and smocks, classic toys, an extensive line of Melissa and Doug items, workbooks for specific skills, educational charts, entertaining instructional games and flash cards.
“It’s a fun store,” says Neyhart. “It’s education in a broad way, not just for school.”
As testament of these words, about sixteen puppets occupy one section
of the wall—among them, a peacock, frog, mouse, owl, and two dinosaurs. There are playing cards with funny quotes and sports quotes and quotes by famous people.
In the center aisle, beside many bins of pencils in fun patterns and colors, there sits a game called “Puppy Pursuit Games,” which can be played by up to four players and includes six huggable stuffed puppies. The game teaches gross motor skills, balance, hand-eye coordination, memory, auditory skills, and color recognition.
But the store isn’t just for elementary school children. Its motto is “Educational Materials for Everyone,” because many items sold here can be used for all ages.
The past year marks a new era for Neyhart and her store, not just because of the new location, but because for all but one of the last seventeen years, Neyhart ran the store and taught school full-time in Williamsport. She retired last year after forty years of teaching, which makes her a valuable commodity in her specific area of retail.
“I can be a resource for customers who need help picking out a learning tool for a specific skill to help a child,” she says, “and I can even recommend how to use it.”
Smiling, she adds, “I love the store’s connection to education. Education is in my soul.”
Desert really was, and steam-powered locomotives and other machinery illustrate the invasion of industry into the pristine natural world.
Littell, who had worked on previous projects involving historical photography, found locations and dates scratched into the emulsion negatives. He says he soon realized that they depicted events “taking place in the backyard of where I grew up.”
He was born only sixty miles north of the Galeton and Port Allegany, Pennsylvania, area, where many of the photographs were taken in 1898 and 1899. He admits, however, that he had “more of an interest in the fact that these were astonishing photos.”
With Lois’s permission, Harry began investigating the photographs more deeply. He contacted friend and colleague Prof. Ronald E. Ostman, of Cornell University, for his expertise on the historical aspects of the photos. Now Barden, Littlell and Ostman set out to discover who had taken these mysterious photos, and what the photographer’s purpose had been.
Ostman and Littell applied for a Pennsylvania state research grant to help with the expenses, and, fortuitously, Linda Ries, of the Pennsylvania State Archives a member of the grant
committee reviewing the application told them she suspected the mysterious photographer was one William Townsend Clarke.
Now, at least, they had a name to go on.
In the Pennsylvania state archives there was a collection of photographs similar in subject matter to the Barden tool shed plates 450 glass negatives from around 1915. These photos, known by Ries to have been taken by Clarke, were compared with the Barden negatives and were revealed to be taken by the same photographer.
One of Lois’s negatives actually turned out to be a possible self portrait of Clarke.
More information shortly followed: “Harry and Ron Ostman and I went to the Pennsylvania Lumber Museum in Potter County, and we were on a mission to see what we could find,” says Lois. “When we went down there, we took one large print with us.”
When the Lumber Museum folks saw the print, said Lois, “boy, they perked right up.”
It turned out that the Lumber Museum had a number of vintage prints depicting lumber camps—some
Among the Barden discoveries is what is believed to be a self-portrait of photographer Clarke.
of which originated from the glass plates Lois had discovered.
Lois’s ninety-eight glass plate negatives, combined with the 450 negatives from the state archives and various prints from the Lumber Museum and the Potter County Historical Society provide a visual document of a significant part of local history.
“What’s interesting is that each of these collections showed us a piece of the puzzle,” she said.
Says Littell, “When you put all of them together you get this sweeping, epic picture of north-central Pennsylvania. It’s unlike any other record of that time and place. [Clarke] was first of all an extraordinary photographer and second of all he created a monumental tribute to three decades of history.”
Lessons for the future
Littell also believes the photos tell an “environmental story with a lesson to us today.”
“They weren’t thinking about the future back then, cutting down all the trees at an unsustainable rate,” Littell said, warning that with today’s rush to exploit Marcellous shale natural gas deposits, “we risk doing something similar with hydraulic fracking and
natural gas in Pennsylvania and New York State. We need to think about how future generations will be affected and how they will look back on us.”
Logging decimated the forests of north-central Pennsylvania, he added. Economies collapsed, thriving towns turned into ghost towns, municipalities struggled to reinvent themselves, and people strived desperately to make a living.
The boom-to-bust cycle could happen again today. That is one silent warning the photos offer.
Granted, this was not Clarke’s main purpose in taking the photographs, however.
“Clarke was basically an itinerant photographer,” Littlell says. “He made his living going from camp to camp and often taking group portraits of the people in the logging camps.”
Clarke would have taken orders for prints, and the more people he got in the images, the more money he made. He most likely printed the photos in Betula, Pennsylvania, which is believed to have been his headquarters. He also sold images to people interested in logging.
Now the photographer had been identified, but the question still
Some of the Barden images depict the invasion of the natural world by then-modern machinery.
remained: How did these photos of a vanished Pennsylvania way of life end up in Bob Barden’s grandmother’s tool shed?
The answer came down to a chance conversation: Ries mentioned to Harry Littell that William T. Clarke had a sister named Betsy Mayo, and the name Mayo struck a chord.
“Clarke had a sister Betsy Mayo, who had a daughter Isabel,” said Lois, reasoning that Isabel must have inherited the negatives.
Clarke had moved to Rochester, New York, to live with his sister, brother and their four children, including his niece, Isabel Mayo. Apparently, for one reason or another, Clarke had brought a number of his negatives with him. He died in Rochester at age seventy-one in July 1930. His negatives were never looked at again until Clarke’s great, great nephew’s wife, Lois, happened to stumble upon them in Grandma Mayo’s tool shed, some forty years later.
Since then prints from the negatives have been on display at a couple of universities and historical societies, but the glass plate negatives remain safely stored in Lois’s dining room.
“I don’t know what I’m going to do with them,” she says. “We like to share
them with people. If anyone gets the same feeling we did from looking at them…They are exquisite. I can’t even verbalize the feeling they give me.”
Thanks to Barden, Littell, Ostman and Ries, the photos have received a second life. Every one of them that was salvageable is now stored in electronic format and Littell and Ostman have created a book to be published by the Pennsylvania Historical and Museum Commission that will showcase the photos and the significant part of Pennsylvanian heritage which they so dramatically represent.
And through it, throw open a window on another time.
What: William T. Clarke photographic exhibit
Where: State Museum of Pennsylvania, h arrisburg
When: November 21 through spring 2011.
Phone: (717) 787-4980
Website: www.statemuseumpa.org
Laura Reindl is the former managing editor of Mountain Home
A family portrait by Clarke provides a glimpse into the lives of rural Americans in the late 1890s.
Complimented on the clever name of the store, Neyhart laughs a dry, friendly laugh and says, “The only problem is I get endless calls from people who think this is a bus terminal. I’ll answer the phone, and they’ll ask, ‘When does the bus leave?’” She points to her desk area. “I keep a list of bus terminal phone numbers handy, so I can pass them on.”
Within an hour, a parade of customers marches in and out, purchasing items that couldn’t be found in Walmart or even the mall. As they shop, they chat with Neyhart, unaware that a reporter is present.
A young woman with a two-year-old girl at the front window quietly proclaims, “Look at all these things!”
Inside the store, the toddler selects a plastic spider. She asks Neyhart in the airy voice of a small child, “Do you like spiders?”
Neyhart smiles and says, “I’m afraid of spiders.”
“You don’t have to be afraid of this spider,” the little girl says with a shake of her head. “It’s not real.”
Another customer plops down a Melissa and Doug wooden puzzle with a happy flourish. As she pays for it, she says, “I’ll be back. My son loves puzzles.”
“You have a great store,” another woman says to Neyhart. “I love it. It’s great for unique gifts.”
Neyhart obviously enjoys talking to customers. She has the crisp, put-together look of a teacher, but she also has a warm, gracious personality and a quality that reveals her relish for parents and people who help kids with learning and the unexpected comments the children sometimes make.
It’s clear that not only parents, teachers, and other adults appreciate Neyhart’s store. Recently two twelve-year-old boys walked by and stopped. One said to the other, “The Bus Stops Here. Get it?”
It truly is a store for all ages, in more ways than one.
Shop: The Bus Stops h ere
Owner: Paula Neyhart
Address: 115 East Main Street, Lock h aven
Phone: 570-748-0321
Hours: Monday, Tuesday, Thursday, Friday 10 a.m.-6 p.m.; Saturday 10 a.m.-3 p.m.; closed Wednesday & Sunday
Patrice Dale, a math teacher at Keystone Central School District and her daughter, Caitlyn Dale, 7 both of Lock Haven, search for a birthday present and school supplies. Bus
©Bill Crowell
B ACK OF T h E M OUNTAIN
Country Road Trip
“Sunday Ride” was shot in the heart of Clinton County’s Amish country.
