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Ambassadors of the Woods Bob and Dotty Webber’s Story Lives on in Their Reconstructed Cabin at the Pennsylvania Lumber Museum By Linda Roller
Celebrating Troy’s Garden Heritage Hands-on at heART Pottery in Lindley The Return of Darling Run Camp
SEPTEMBER 20211
Volume 16 Issue 9
16 A Garden Grows in Corning
Ambassadors of the Woods
By Karey Solomon
Pixie Moss Meadows celebrates garden whimsy in small packages.
By Linda Roller Bob and Dotty Webber’s story lives on in their reconstructed cabin at the Pennsylvania Lumber Museum.
20 Mother Earth
By Gayle Morrow Harbingers of change.
24 Feet of Clay? Not. By Karey Solomon
Create and cure at heArt Pottery Studio in Lindley.
6 The Flowering of a Quarter Century
26 Time Travel at Darling
Run Camp
By Maggie Barnes The Heritage Garden Club of Troy celebrates a milestone.
By Lilace Mellin Guignard
Following in the footsteps of the CCC, a new crew carves a clearing in the forest.
30 Cottage: A Place, A Dish,
A Lifestyle
By Cornelius O’Donnell Nostalgia for dinner, anyone?
34 Back of the Mountain
14 Documenting Mountain Souls
By Linda Stager The three amigos.
Cover photo: Bob and Dotty Webber, courtesy Josh Roth, Pennsylvania Lumber Museum; cover design by Gwen Button; this page from top: Josh Roth, Pennsylvania Lumber Museum, middle: by Barb Andrus; bottom: courtesy Jeff Swingholm.
By Linda Roller Jeff Swingholm films a tribute to the remarkable lives of Bob and Dotty Webber.
18 26 3
w w w. m o u n ta i n h o m e m ag . co m Editors & Publishers Teresa Banik Capuzzo Michael Capuzzo Associate Publisher George Bochetto, Esq. D i r e c t o r o f O pe r a t i o n s Gwen Button Managing Editor Gayle Morrow S a l e s R ep r e s e n t a t i v e s Shelly Moore, Richard Trotta Circulation Director Michael Banik Accounting Amy Packard Cover Design Gwen Button Contributing Writers Maggie Barnes, Mike Cutillo, Melissa Farenish, Alison Fromme, Lilace Mellin Guignard, Carrie Hagen, Don Knaus, Dave Milano, Cornelius O’Donnell, Brsendan O’Meara, Linda Roller, Karey Solomon C o n t r i b u t i n g P h o t o g r ap h e r s Bernadette Chiaramonte, Teza Gerow, Michael Johnston, Jan Keck, Beate Mumper, Peter Rutt, Jody Shealer, Linda Stager, Sarah Wagaman, Curt Weinhold, Ardath Wolcott, Tracy Zinck
D i s t r i b u t i o n T eam Brian Button, Grapevine Distribution, Linda Roller T h e B ea g l e Nano Cosmo (1996-2014) • Yogi (2004-2018) ABOUT US: Mountain Home is the award-winning regional magazine of PA and NY with more than 100,000 readers. The magazine has been published monthly, since 2005, by Beagle Media, LLC, 39 Water Street, Wellsboro, Pennsylvania, 16901, and online at www.mountainhomemag.com. Copyright © 2021 Beagle Media, LLC. All rights reserved. E-mail story ideas to editorial@mountainhomemag. com, or call (570) 724-3838. TO ADVERTISE: E-mail info@mountainhomemag.com, or call us at (570) 724-3838. AWARDS: Mountain Home has won over 100 international and statewide journalism awards from the International Regional Magazine Association and the Pennsylvania NewsMedia Association for excellence in writing, photography, and design. DISTRIBUTION: Mountain Home is available “Free as the Wind” at hundreds of locations in Tioga, Potter, Bradford, Lycoming, Union, and Clinton counties in PA and Steuben, Chemung, Schuyler, Yates, Seneca, Tioga, and Ontario counties in NY. SUBSCRIPTIONS: For a one-year subscription (12 issues), send $24.95, payable to Beagle Media LLC, 39 Water Street, Wellsboro, PA 16901 or visit www.mountainhomemag.com.
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Courtesy Joshua Roth, Pennsylvania Lumber Museum Home simple home: Bob and Dotty Webber stand outside their cabin in the Tiadaghton State Forest in 1998. 6
Ambassadors of the Woods Bob and Dotty Webber’s Story Lives on in Their Reconstructed Cabin at the Pennsylvania Lumber Museum
S
By Linda Roller
ometimes, it’s a small, simple thing that grows into a grand new direction—think little acorns and oak trees. For Joshua Roth, an important new exhibit and addition to the Pennsylvania Lumber Museum started from a phone call. He had just arrived as the new director in the spring of 2015 when Sam Cooke called. Sam was a forester from the Tioga District and on the board of the Pennsylvania Lumber Museum, and he had an unusual request. He asked Josh about moving a cabin in the Tiadaghton State Forest from its location at the rim of the Pine Creek gorge to the Lumber Museum to be an exhibit there. He thought it would be the best place for it. Now, this wasn’t a nineteenth century cabin, or one of the first buildings in north central Pennsylvania. In fact, it was just a 14-by-20-foot-long cabin originally built in 1961, with a wing added in the 1980s. But, Sam explained, it wasn’t the cabin itself that was unique. It was the couple that had lived in that cabin for fifty-four years above Slate Run “off the grid.” For this was the home of Bob and Dotty Webber. See Webber on page 8 7
Webber continued from page 7
Bob had died just a few months before and some of his friends were looking for a way to preserve the cabin. To Josh, this did not immediately seem like a good fit for a museum devoted to the lumber industry and the forests of Pennsylvania. This was a person’s cabin, not unlike many of the seasonal camps that are found throughout and next to state forest land. Bob had been a forester, but that wasn’t enough of a reason to move the structure. The mission statement for the museum did speak of the recreational uses of the forest, but the primary thrust of the museum was the history of the lumbering era and the care of the forest. “With anything we bring to the museum we have to give it very careful consideration before we accept it,” Josh says. “For we will then have to preserve it. After all, we’re in the forever business.” But the cabin on the rim did not go away. “A week did not go by from the day that Sam called me until the day it was dedicated that I did not get a postcard, a letter, a phone call, or a visit in person from someone asking me about the Webber’s cabin.” At first, Josh, as museum director, needed to be convinced about the importance of the Webber cabin at the Lumber Museum. He has only been at the museum for a short time and had never met Bob or Dotty. But he was beginning to meet many of the people involved with and interested in the forests of north central Pennsylvania, as he fielded the calls and letters about the cabin. And through people like Jim Hyland, now director of Tioga State Forest District, retired forester John Eastlake, Jeff Prowant, Tiadaghton State Forest District director, and so many others, Josh was beginning to see the impact Bob and Dotty had on Pennsylvania forests. It became clear that they were people who helped connect so many others to the forest that they loved and lived in. For Dotty, the love affair with the forest was generational. She was a Tome, one of the original families in the Pine Creek valley. She grew up in the Slate Run area. Bob’s love of the area started with his dad, who bought 500 acres—a mountain on the western rim overlooking Pine Creek. Bob was here throughout his childhood, at the cabin his dad built, close to the site he chose for his own home in 1961. It was Bob and Dotty’s brother who built the original cabin, using mostly oak logs that they could move and carry themselves to the cabin site. By that time, Bob had been hired for maintenance in the Tiadaghton District. And since the focus of the job in the forest had 8
been changing since the 1950s, Bob was one of the best foresters for the job. In the early part of the twentieth century, after the lumber boom and the clear cutting of the Pennsylvania forests, the state bought the land to manage the forest and support the lumber industry. But by the 1950s the forest was far more than a place to cut trees. It was an environment to be cared for, and to be available to everybody. It was becoming a recreational resource, a place for people to hike, to camp, and to enjoy and care for the woods. Bob took that mission to heart and became one of the premier trailblazers. Bob personally cut and maintained a long list of public trails during his tenure with the Bureau of Forestry, including the Golden Eagle, George B. Will, Sentiero DiShay, Francis X. Kennedy Ski, Pitch Pine Loop Ski, and his namesake trail, the Bob Webber Trail. It was Bob Webber and John Eastlake who created the Black Forest Trail, a forty-two mile loop through some of the wildest land in the area. Bob was known for his ability to design and create vista spots in trails, and his signature benches, cut from logs, grace many of those locations today. But Bob was more than a skilled woodsman, expert trailblazer, and dedicated caretaker of the forest. Most of us think of a hermit-like existence when we think of people who live in a cabin without modern conveniences deep in the forest. Bob and Dotty were the exact opposite of that. They cared for the people they met in the same deep way that they loved and cared for the forest that they lived in, and the people who met them became lifelong friends. Jack Duerer, one of those lifelong friends, explained how he and Bob met. “My dad was Bob’s dad’s head mechanic at his Buick/Pontiac car dealership for thirty-six years. I probably met Bob for the first time when I was about five years old.” Jack stayed at Bob’s cabin for weeks at a time, enjoying the outdoors, hiking, and hunting. “I used to go to work with him, riding on the grader as he cleared the forest roads—that wouldn’t be allowed now. Bob was a father figure, a best friend, a hunting partner. And Dotty would take care of you like you were her kid.” It was Jack who helped Bob build a wing onto the cabin—a room for Dotty’s piano, and for the couple’s large collection of books. As Jack put it, “I don’t know if I was Bob’s best friend, but he was mine.” The warmth of Jack’s memories of Bob See Webber on page 10
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Webber continued from page 9
(2) David O’Reilly (4) Courtesy Joshua Roth, Pennsylvania Lumber Museum
and Dotty are not unique. Far from it. People visited the cabin from all over, for Bob and Dotty made friends wherever they went and with whomever they met. Bob was a natural storyteller and a warm and understanding listener. Jack reminded me that we had met, through Bob. I knew Bob through the love of books, as a bookseller. He and Dotty would stop in the early evening, after doing errands in town on the way back to the cabin, and a couple of times Bob stopped into my shop with Jack. As the stories of the work done by the Webbers, their role in bringing people into the forest for recreation, and their simple lifestyle in the woods were told to the new museum director, Josh was convinced of both the importance of the Webbers to the region and to Pennsylvania forests, and the need for the cabin to be at the Lumber Museum. It was right at this time that a lucky thing happened. “I was working at my office in the museum and took a break,” Josh recalls. “I had stepped out on the balcony and was looking at the weather when Jack (Duerer) drove up the drive. That’s the first time we met, and we had a two-to-three hour conversation.” Josh knew then that he wanted the cabin for the museum, and once he knew that he realized it was important to move quickly. The Department of Conservation and Anything but simple: from Natural Resources would have difficulty securing the the foundation to the cabin in its current location, and the elements would roof, the reconstruction degrade the unoccupied building quickly. Luckily, of the Webber cabin Jack Duerer, Matt Crosbie, and other friends had took careful planning already done some early work at the cabin. This was and execution. From a home, filled with the things of everyday life for the top, the new foundation for the cabin being Webbers. After Bob’s family chose some things, Jack poured; Jack Duerer bought the rest and cleaned out the cabin. Dotty had works on the roof of the many cats at the cabin, and at first, Matt went up cabin; chinking between every day after Bob’s death to feed them. Eventually, cabin logs; a crowd Jim Hyland took the cats home with him. surrounds the cabin at As Josh began the campaign to convince its dedication ceremony. people at the Pennsylvania Historical & Museum Commission of the importance of supporting this project, a dedicated group of volunteer friends of Bob and Dotty’s from DCNR and the Bureau of Forestry, spearheaded by Jack Duerer, began the process of moving the cabin in July 2016. It had “wintered over,” but nature had begun taking its toll. The porcupines had already eaten the bottom one-third of the cabin’s front door. Jack began the task of coding every log so that the cabin could be reconstructed on the new site. “I used aluminum tags on every log,” he says. Then, with the help of foresters from the Tioga and Tiadaghton districts, he began disassembling. Both the Webber family and building people from PHMC were there to help and to record the process. As part of that was assimilating the cabin into the Pennsylvania Museum collection, actual drawings were made of the building. Josh knew it was in good hands. “Jack was the best person for the job because he was so familiar with the cabin,” Josh says. As a Christmas gift, the Webber family presented Jack with a DVD of the take-down. The cabin logs were transported to a DCNR lean-to in Ansonia to await final approvals, planning, and the funding necessary to create the exhibit up at the Lumber Museum. The reconstruction began in 2018. 10
The rebuilt cabin is 65 to 75 percent original, according to both Josh and Jack. Some of the logs in the original cabin were simply too rotted to be used in the rebuild. What needed to be replaced was sourced from the area around the original site and was the type of oak that Bob had used. Josh notes that the logs used were not the larger logs that would be used by a builder with heavy equipment, for this cabin was built by axe and machete, with the logs then lifted into place. The logs were small enough for two men to lift over their heads. Some of the more used pieces of the cabin also needed to be reconstructed. “I took the window casings and door home to be redone,” Jack recalls. The foundation that Bob used could not be replicated at the new site. That was a concession that had to be made to help preserve the cabin for generations. Bob used stone from the area, without mortar. Now, the cabin would sit on a poured concrete foundation, built to current building codes. “But, the codes were waived on the building itself,” Jack says. As a professional builder, he knows the codes and knew that this structure would never pass, although “it
went together way better than I thought it would.” That was surprising, as Jack notes the cabin was fourteen inches out of square and it had to be built back the same way so the original logs would still fit. Jack says the chinking between the logs that was originally used was filled with small branches, and even leaves to help insulate the cabin. “There were leaves there that were put in the original chinking fifty years ago,” he says. The chinking of the restored cabin is done much like Bob did originally, but with standardized materials to insure a solid building. Jack says that the reconstruction is far stronger than the work done in 1961 and in the 1980s. “I’ve built 150 log homes in my career,” he notes. “This one was the most satisfying one for me.” There are a few other concessions to the cabin at the museum. It now has electric, as the kerosene lamps that Bob and Dotty used would not be safe around visitors. And as part of the museum, it is secured in a way that they could not have imagined. The path up to the cabin, erected on a bit of a rise so that there is a small vista at the front, is graded with a couple of switchbacks, and is Americans
with Disabilities Act-compliant. By summer of 2018, the cabin was complete and was dedicated in July at the 44th Bark Peeler’s Festival. Many of the people involved in the project, along with other friends of Bob and Dotty, were on hand to mark the moment and share their stories. The Lumber Museum does not look at the cabin as a jewel to be admired, though. It’s an interactive exhibit. Jack loaned the museum many of the Webber’s possessions. It can’t be as crowded as the cabin was when the couple lived there, but there is a flavor of life lived for fifty-four years in 500 square feet. Dotty’s cookstove is there, along with a shelf that was on the wall originally, complete with some of the things that would have been on it. Her cooking cabinet is by the stove, and a small table in another corner. The message pad hangs on the front of the cabin. People who stopped by the cabin when the Webbers were not home could leave a message, and the museum now has stenographer pads of messages left by people visiting at the museum. On those pages, the stories about this life and the lives of the people who built this go on. See Webber on page 12
11
Courtesy Joshua Roth, Pennsylvania Lumber Museum
Former glory: the Webber cabin sits at its new location at the Pennsylvania Lumber Museum and welcomes visitors to experience the simple life. Webber continued from page 11
A documentary on Bob and Dotty’s life, Mountain Souls, was released just this year and is available at the museum. There, we can continue to see the Webbers and hear stories about their lives and the lives that they touched. The cabin now has printed information about them and asks the visitor to compare this life with the life they lead.
Future plans include a video loop in the cabin to provide a more complete view of the life above Slate Run. Jack and I talked about what Bob and Dotty would have thought about all this fuss over the cabin. We agreed that Dotty would have scolded us for all this nonsense, and Bob would have rolled his eyes. But the result, the continuing of their mission to bring people
to the woods, to show them another way, a simpler way, would have pleased them. These ambassadors to the woods will touch people for generations. And that is a legacy and a gift beyond compare. Mountain Home contributor Linda Roller is a bookseller, appraiser, and writer in Avis, Pennsylvania.
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(4) Courtesy Barb Andrus, Heritage Garden Club of Troy
Cultivating culture: (from top left) Troy’s street pedestal baskets; Judy Warn prepares her herb garden for Farmer Boy Days; herb gardens at the Mitchell House; and Troy’s welcome sign garden.
The Flowering of a Quarter Century The Heritage Garden Club of Troy Celebrates a Milestone By Maggie Barnes
“G
ardening is something most people pick up in their retirement.” So they say… Most of the members of the Heritage Garden Club of Troy, Pennsylvania, are, indeed, retired. But don’t get the idea that this is a small band of quiet ladies who gather once a month to nibble cucumber sandwiches and chat about roses. The Heritage Garden Club members are passionate, green-thumbed ambassadors for their community, with several projects underway at any given time in the spring, summer, and fall. They understand the power of nature-made beauty and use it strategically to increase the enjoyment of life for others.
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If you’ve ever passed the “Welcome to Troy” sign, you’ve seen the results of their talents in the blooms that adorn it. “The one by Tops on Route 14 looks nicest this year,” says member Barb Andrus. Begun in 1995, the Troy Heritage Garden Club is part of the Garden Club Federation of Pennsylvania and the National Garden Clubs, Inc. When Shirley Merloe invited a few ladies to her home to talk about beginning a garden club, she probably never envisioned a day they would be counted among 175,000 other members throughout the nation, all the way up to Alaska and down to Hawaii. (A founding member, Carol Ulmer, is still active
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of our efforts require a lot of research.” She’s not just tiptoeing through the tulips about the research. The Museum also features a Dye Garden, where everything planted has historically been used to tint clothing. But the mountain of research that was steepest to climb was for the Herb Garden. There are over thirty types of herbs represented, and the ladies can tell you much about the ancient uses for each of them. “Herbs fall into categories like medicinal, culinary, or fragrant,” Barb says. The garden speaks to the original green movement, when a community grew what they needed and found uses for everything. It is a good thing that the ladies of the Heritage Garden Club are such experts on the herbs, because their most dynamic project is what they call Farmer Boy Days. It is an interactive session with more than 900 fourth graders from area schools. “You wouldn’t think you could interest today’s fourth graders in an herb garden,” Judy laughs, “but they really get into it. We get them guessing about how herbs were used in the home.” The garden club members explain that there was no pharmacy in 1866 for a cough or arthritis, and settlers had to use what nature provided for cures. Education for future generations is a big part of the club’s mission. They offer scholarships to local high school graduates to encourage careers in horticulture and forestry. But the most visible indicators of the group’s vitality remain the public display of flowers. In addition to their colorful welcomes at the entrances to Troy, they have an elaborate display at the Troy Fairgrounds that includes a water feature. And they handle the plantings around the “Little” Children’s Church on the Heritage Village and Farm Museum grounds. Perhaps the most eye-catching effort are the hanging baskets that brighten downtown Troy. The garden club attends to these planters at the change of the seasons— May, September, and November. These members of a floral army disrupt a morning’s stillness with ladders, tools, and watering cans. “And everyone has baskets they are responsible for,” Judy laughs. “If you don’t keep up the watering, everyone knows it!” Even if the baskets still look good, the change is made to keep pace with the fluctuating temperatures and upcoming holidays. Club members credit the business owners with assisting them on caring for the plants, which are a point of civic pride. How do they keep it all straight? The ladies use a yearbook to track where they planted what and when. (Not a bad idea for home gardeners who spend spring days questioning whether it was pansies or petunias that went along the walkway.) The yearbook itself is a work of art, and one year the Heritage Club won the prize for best yearbook in the district. In fact, the president of the Pennsylvania Federation of Garden Clubs has remarked that the amount of work the Troy club does is impressive given their small size. The Heritage Festival in September, where they are famous for their baked goods and mulled cider, is the group’s largest fundraiser. This year’s dates are September 18 and 19; the festival is at Alparon Park in Troy. You can follow the group on their Facebook page at Heritage Garden Club of Troy, or talk with any member about joining. If you have a passion for plants, the ladies of the Heritage Garden Club share that same philosophy—about plants and about new members. There’s always room for more.
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(5) Courtesy Jennifer Tiffany
A Garden Grows in Corning
Pixie Moss Meadows Celebrates Garden Whimsy in Small Packages By Karey Solomon
W
hile many people might look sadly at a defunct portable radio, or wonder what to serve in an over-large teacup, Jennifer Tiffany sees these and more as intriguing containers for small, whimsical gardens. She specializes in succulents, a species of plants with a lot of variety in color, texture, and leaf size. Paired with interesting ceramic accents, stones, seashells, and almost always with a pixie, fairy, or gnome—or, alternatively, a baby Yoda—Jennifer’s mini-gardens are each their own small world, a desktop retreat with a story to tell. Pixie Moss Meadows, at 65 East Market Street, Corning, is where the magic happens. Opened this year, it’s a green oasis complete with the gentle sounds of a tall, trickling fountain, rows and rows of happy plants, and baskets of the colorful 16
semi-precious stones she uses to decorate her scenes. “I can create a garden in just about anything,” Jennifer says. “I’ve even used hollowed out logs.” And shoes, antique orphan drawers, ceramic skulls. She even creates such tiny gardens, nestled in containers like antique canning jars, that she has to use tweezers to carefully maneuver everything into place. Here in the store are also garden accessories she’s spent time researching and sourcing, like quirky spoon plant picks with sayings like, “I wet my plants,” and “Grow, damn it!” For those who feel uncertain about their gardening skills, there are little wooden stakes to stick in your plants that say things like “A little thirsty over here!” as a reminder to people who forget to water, or “My next victim,” for those who refuse
to be reminded. The shop’s name, and the presence of small, magical creatures ornamenting most gardens is reminiscent of the stories Jennifer’s grandmother told her on childhood walks. “She told me to keep my eyes out for pixies and gnomes,” she says now. She remembered her grandmother when she chose the name for her business. “I needed a mystical name—I believe the pixies gave it to me!” she says. Jennifer’s impetus for Pixie Moss Meadows began as a stay-at-home mom wanting a creative outlet. Friends and family who saw her creations asked her to make little gardens for them as well. “I loved succulents because they were the first sort of plant I didn’t kill,” she laughs. She took online classes and spent years sourcing accessories. She propagates her succulents in
order to have a good supply, experimenting with ones that trail, some that look like little trees, others looking like green flowers growing directly from the soil. Succulents come in a range of different greens as well as variegated colors. They store water in their leaves and stems, which can make their leaves plump and substantial, as well as more drought-tolerant. Some are cold hardy and live permanently outdoors, others are more at home inside. Several might be already living in your home—think aloe vera, jade, and the long-leafed mother-in-law’s tongue. If they’re not in your home and you want them, Jennifer can probably get them for you. She also carries a variety of cacti as well as houseplants grown by HPP Houseplants in Rochester. “Everything is in beautiful pottery in her own soil mix so they’re really thriving,” she says. Among other regional vendors are herbal creations by Bespoke Apothecary, handmade soaps by LizAnn Body Delights, intuitively created bracelets by Tiger Lilly, and insect shadowboxes by the Garden Spider. On a larger scale, look for chainsaw-carved mushrooms and gnomes for garden hardscaping. There’s a display of air plants and a bower of Spanish moss, another frequent ingredient in her gardens. “Did you know moss is supposed to represent good luck and abundance?” she asks. She has tiny moss gardens floating in jars; some of the balls of moss even wear little sun hats to protect them from light, as they prefer dim spaces. One of the ultimate low-maintenance choices is the aquatic terrarium, a creation she describes as “a little ecosystem with beta fish.” The fish nourish the plants, she explains, and the plants filter the fishbowl, “so you hardly ever have to change the water.” Among the gardens she creates are ones for encouragement, thank-you gifts, and get-well gardens. “I’m sending lots of love, luck, and healing in every get-well garden I create,” she says. She’s happy to craft custom orders for any holidays or occasion. Among the magical accessories are ceramic mushrooms, fairy doors, fairy houses, and miniature gnomes created by MacKenzie, a clay artist who is also Jennifer’s teenage daughter. She always uses her own soil mix, one she created after a lot of experimentation. “Dirt is really important,” she says. “I want the gardens to thrive and have a long life.” One of the nicest surprises in opening her store was the success of her garden bar, a work bench supplied with all the plants, interesting containers, soil, and accessories needed for customers who want to create their own tabletop garden. Like her plants, this concept grew, so she’s added a second garden bar. Private “garden parties” are generally held on Sundays. Participants can bring their own refreshments, and up to fifteen can be accommodated at a time. The shop gets redecorated and accessories augmented for each seasonal holiday. Repeat customers and smiling faces make it worthwhile, she says. “Everyone has such a different imagination! It’s so cool! I love to see everyone’s creations, it’s wonderful,” she says enthusiastically. “I feel very blessed to be here.” Learn more at pixiemossmeadows.com, on Facebook, or call (607) 221-5906.
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Karey Solomon is a freelance writer and needlework designer who teaches internationally. 17
Mountain Souls by Michael Pilato, courtesy Jeff Swingholm.
Natural teachers: “Mountain Souls” is one of the original drawings by Michael Pilato included in the film to enhance the narrative.
Documenting Mountain Souls
A Tribute to the Remarkable Lives of Bob and Dotty Webber By Linda Roller
“I
n your life, there are a few people you meet that are icons. Bob and Dotty are those people in my life. I learned so much from them.” So says Jeff Swingholm, and the immense respect and love he had for Dotty and Bob Webber is immediately evident through the documentary he has produced on their lives. Released in summer 2021, there will be a showing of Mountain Souls in Wellsboro at the Coolidge Theater in the Deane Center on Saturday, October 16, at 7 p.m. The idea for the documentary grew out of a decades-long friendship with Jack Duerer and the Webbers. Jack brought Jeff up to the cabin when Jeff was sixteen. As
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so many people did, Jeff took to Bob and Dotty immediately. “When Dotty passed (in 2012) and then Bob (in 2015), I was shocked that no one had written a book about them or had ever done a documentary,” Jack says. But soon after Bob’s death, the focus for people who knew and loved the Webbers was to save their cabin for future generations. Jeff’s longtime friend Jack was central to that project and in 2016 worked with the Department of Conservation and Natural Resources to dismantle the cabin and store it for safekeeping. It was Christmas of that year that Bob Webber’s son, Buddy, gave Jack a DVD of the dismantling project, set to the
music of one of Jack’s favorite artists, John Denver. Jack, in turn, gave Jeff a copy. “I was touched,” he says. “I showed it to my wife, and she had a lot of questions about Bob and Dotty.” Her questions spurred him to create a documentary about the Webber’s lives. It was a perfect project for a man who was a video producer. Jeff had the skills and knew people who could help him with the project. People like Mark Polonia, who has been a filmmaker and editor for over thirty years. “He’s a great editor,” Jeff says. “Mark and I have worked on a few things before.” Jeff also reached out to Linda Sampson, who used to write for him. “In thinking
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about the documentary, most of the script would be the interviews. But it would also need narration. Linda was the perfect person to help me write that.” Several of Bob’s long-time friends had been filmed for the documentary, and John Eastlake proved to be an important source of photos, as he and Bob had blazed many of the trails in the area together. But for some of the Bob and Dotty stories there were no photos. Then Jeff had a flash of inspiration that added another dimension to the film, recalling that, “I woke up in the middle of the night with the idea of drawings depicting Bob and Dotty and events in their lives.” Charlie Schwarz, Bob Webber’s boss for many years, had told Jeff about the mural in Williamsport showing Bob with a book in his hand. Jeff had seen the mural and knew that Michael Pilato was the artist. “I asked Michael if he knew anyone who could do the sketches needed for the documentary, and he said that he could do them.” It was only after the work was completed that Michael told Jeff he had not done that type of work for about twenty-five years. “Mark, Linda, and I spent hours on each one of the drawings Michael did, deciding which ones to include,” Jeff says. Some of the drawings had to be revised. The drawing that illustrated the story about Dotty’s mom and other children in the Slate Run area catching a train to school in the winter was drawn with leaves on the trees. “Michael changed the original to a snowy scene, but the erased leaves are still faintly visible on the original drawing,” Jeff says. In another drawing showing Bob bringing groceries up the mountain to the cabin from Wolfe’s General Store, Michael drew a baguette sticking out of the top of his rucksack. That would not be in Bob’s sack headed to the rim and was removed in the final drawing. To complete this film the way that Jeff envisioned it, he worked a full year, six to seven days a week. Throughout the production he felt like he was living their life. “Sometimes it felt like Bob was talking to me,” he says. This was never a project to make money. Jeff hopes the documentary and sales of the DVD will raise money for a scholarship for someone wanting to make a career and a life in forestry. Production began in March 2019 and was completed in January 2020. It is dedicated to Jeff’s mom, a babysitter for the young Bob Webber. She died in a nursing home before he was able to interview her about that. Before the release, there was to be a dinner celebrating everyone involved in the project, and to give all those an opportunity to meet and talk with one another. But a pandemic has other plans. Two weeks before the dinner was to be held, the state was shut down. “I was afraid that someone involved with the documentary would die before it could be seen,” Jeff relates. And that did happen. John Eastlake died this April, before the documentary could be released to the public. At the end of our conversation, Jeff says something that speaks directly to how Bob and Dotty interacted with people. “I thought I was his best friend, but later I realized that Bob had lots of best friends.” Mountain Home contributor Linda Roller is a bookseller, appraiser, and writer in Avis, Pennsylvania.
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Mother Earth
Harbingers of Change By Gayle Morrow
H
ave you noticed? The bees are really busy all of a sudden. Crickets are singing in the evenings. Hummingbirds are zooming to and from the feeders almost constantly. Apples are ripening (this seems to be a good apple year), corn is tall, hay’s in the barn. What signals the beginning of the end of summer to you? Do you need to look at a calendar? The natural world, as confused as it may be at this juncture in human history, gives us a jillion signs that the seasons are changing. For me, it’s when the bee balm, the mullein, and the goldenrod strut their stuff.
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Of the three, I think it’s the bee balm that first pronounces the inevitable, but isn’t the herald lovely? Around here, I usually see the red version of Oswego tea/ bergamot/bee balm first in the shady areas along creek beds starting about mid July. What a spectacular color contrast between those crimson spikes and the emerald ferns. The pale purple bee balm shows up in force a week or two after. On some sunny fields and side hills, that profusion of purple is like a bee balm explosion. And there is a beautiful magenta version I’ve been seeing in gardens, my own included. For some reason the deer didn’t bite off those
blossoms like they did the red ones last year (the literature says bee balm is deer resistant—ha ha, not in my garden). Bee balm is a member of the mint family. It’s in the genus Monarda, and is named for Nicolás Monardes, a Spanish botanist who wrote a book in 1574 (!) describing plants in the New World. Not only do pollinators love it, it has antifungal and antibacterial properties, making it useful to humans. And here’s a cool factoid: I had always thought that the distinctive flavor of Earl Grey tea came from bergamot oil made from the bergamot/bee balm See Change on page 22
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SAYRE HISTORICAL SOCIETY
Fall Events
September 10 • History under the Stars with Jim Nobles
October 10 • 2nd Annual Team Trivia at the Sayre V.F.W.
November 27 • Model Train Day A Thanksgiving weekend tradition in Sayre
Sayre Historical Society Museum Hours: Wednesday from 4 p.m. to 6 p.m. and Saturdays from 10a.m. to 2 p.m. Sayre Historical Society located in the Historic old Lehigh Valley Passenger Station on South Lehigh Avenue in Downtown Sayre.
Visit sayrehistoricalsociety.org for more information. Funded in part by the Bradford County Tourism Promotion Agency
Pumpkin Festival 18th Annual
Sponsored by the Canton Volunteer Fire Department
Admission is a donation at the gate that goes back into the community through various outreach programs.
Saturday, October 2, 2021 10:00am–5:00pm
Sunday, October 3, 2021 10:00am–4:00pm
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Canton Fireman’s Fairgrounds
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Change continued from page 20
plant. No. It comes from bergamot oranges. Mullein keeps a schedule similar to bee balm’s—their growth is not quite concurrent but they do often share some common flowering time. Mullein kind of resembles cactus—it’s tall and cylindrical, and you’ll occasionally see the plants with arms or an interesting kink at the top. Their hairy, lighter-than-olive-green foliage sometimes travels up the stem, and sometimes forms a sort of layered skirt around the bottom of the plant. It often likes the same gravelly side hills the purple bee balm does. The plants grow singularly and in clumps. Mullein’s yellow flowers line the stalk, opening individually before dawn and closing in the afternoon. It is native to Europe, North Africa, and Asia, but was introduced to the Americas and is now considered a weed in most of the places where it grows. Though it can thrive in a wide range of habitats, it is not considered a threat to agriculture. Mullein has a long history of use in traditional and herbal medicines, having anti-inflamatory and anti-spasmodic properties. Its roots, flowers, and leaves are used in a variety of ways to treat a variety of ailments, including unhappy backs and bladders, mucus-filled lungs, and achy ears. In this country’s western states, mullein once had the nickname of cowboy toilet paper. One can only imagine…or perhaps would rather not. Goldenrod smells like fall, I think. It’s another plant the pollinators love. There is nothing glitzy about its foliage, but my horses will sometimes eat it—they don’t seem to much care for the flowers—and we can eat the young leaves, too, although I confess I never have. Goldenrod, whether you consider it a weed or a wildflower, is a genus of over 100 species in the Asteraceae, or aster, family. It is native to North America; some species have been introduced to Europe where they are cultivated and enjoyed as garden plants. It has been erroneously blamed as the culprit for late summer/early fall hay fever, but the real bad guy is ragweed. It flowers at the same time, and has the kind of light, airy pollen the wind can pick up and deliver right to your nose. Goldenrod pollen is heftier and more gooey. It’s a plant that likes good drainage but is not fussy otherwise. It seems to grow well most everywhere, to the dismay of those who don’t appreciate its cheerful golden flowers. Did you know Thomas Edison experimented with goldenrod to produce rubber? Me neither. Goldenrod leaves have naturally occurring rubber; Mr. Edison grew some versions of the plant containing increased amounts. A Model T that Henry Ford gave him even had tires made of goldenrod. Mr. Ford subsequently collaborated with George Washington Carver and the Tuskegee Institute on plant studies, ultimately developing a synthetic rubber using goldenrod. It’s something to think about before declaring war on the goldenrod in your garden. As I’m writing this in August, the wild blueberries are finished and the first blackberries are ripe. The summer solstice is nearly two months gone, so we’ve already had close to eight weeks of days getting shorter. July is not in charge anymore. September will soon concede to October, which in turn gives way to November…you get the picture. The mullein stalks are dry and brown, the bee balm’s flowers are just a memory, and the goldenrod has gone to seed. See you all next year, with or without a calendar.
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Beethoven Symphony No. 5 George Walker Lyric for Strings Soloists: Patrick Dugan, double bass Nikhil Lahiri, oboe 2020 Hertzog Concerto Winner
Saturday, December 11 • 4:00 PM—Clemens Center, Elmira Sunday, March 6 • 4:00 PM—Clemens Center, Elmira Sunday, May 1 • 4:00 PM—Corning Museum of Glass, Corning
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Karey Solomon Throwing stones: Bethany Conway carefully shapes a bowl on the pottery wheel.
Feet of Clay? Not.
Create and Cure at heART Pottery Studio in Lindley By Karey Solomon
R
emember the fun of playing with clay? Whether it was the squish of mud through your fingers or the feeling of accomplishment when a bit of plasticine or Play-Doh got shaped into a miniature facsimile of your cat, the concentration required to turn an earthy lump into something that looks recognizable is a pleasure that seems to still keep the worries of the world at bay. Wanting to share this was a large part of why Bethany Conway, with her husband, Brent, began the heART pottery studio in Lindley. Bethany’s background includes the influences of several generations of artistic relatives—her grandfather was a sign painter and her mother is a photographer. And pottery has long been part of the family— Brent introduced Bethany to the fun of the pottery studio at Corning Community
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College when they were first dating. Now both employed by Corning, Inc., Brent as a scientist and materials engineer and Bethany as a ceramics scientist, the time of COVID gave them the impetus to put a long-held dream of a hands-on pottery studio into action. “Now seemed a good time to try something new,” they say. “You shouldn’t go to the grave with a song still in your heart,” Bethany adds. The pair decided to start with what they have—a pristine garage space that opens to the outdoors on two sides. They invested in several electric potter’s wheels and a capacious kiln. Brent built a work counter on hinges so they can fold it down when they need to adjust the space to accommodate a larger capacity group, like a birthday party or the recent group of visiting seniors.
Brent and Bethany themselves embody the spirit of play and experimentation in their own pottery explorations. They noticed promising-looking deposits of natural clay when they purchased their hillside home, and they’re currently refining test batches to explore how it will work as pottery. At last report, Bethany found the clay from her own backyard made a decent pot on the wheel. “It’s really nice clay,” she says. While the experimentation continues, they’re relying on the commercially prepared clay. Before “throwing” a pot, the stoneware clay she works with has to be “wedged,” that is, kneaded, sliced, and smacked down on a hard surface to get air bubbles out. Taking up an already prepared soft-ball-sized sphere of clay, she turns on the wheel. Using wet
GAFFER hands, she carefully positions the clay in the middle of the rotating work surface. Moistening it repeatedly with water dipped from a nearby bowl, she sits with her elbows braced on her knees for support, using the outer edge of her palms to begin shaping. Exerting inward and upward pressure with opposing hands, she changes the ball into a cone, stretching it upwards, then flattening it with downward pressure, until it’s gently flattened, continuing the preparation of the clay. A thumb is pressed down to “dimple” the middle, then two thumbs plunge into the heart of the clay, working against the pressure of her fingers on the outside of the evolving structure to shape the lump into a vessel. This is the fascinating part of the process to watch, and to try, as the clay walls thin, take shape, and rise as the bowl or mug or teapot or other vessel is fashioned. The imprint of the potter’s hands leaves its mark forever on what will become a finished piece. Today it’s going to become a vase, but Bethany often makes mugs, plates, and decorative ceramics. “What better satisfaction than to drink your morning coffee from a mug you made?” she asks. Some of her work is sold in Corning’s FLX Unique on Market Street. “It’s a struggle with being in control,” she says of working with clay. Clay may have plasticity, but it takes muscle and practice to move it in the desired direction and into the desired shape, and even then the material may seem to have its own ideas about the final result. When a piece feels done, it’s carefully removed from the wheel and allowed to dry before its first firing. There are other techniques one could use to explore the medium. You might try rolling the clay into a stacked spiral of coils stuck together with water, or using a rolling pin to create flat slabs that may be cut and joined to each other like pie crust. Perhaps there’s something philosophical as well as practical going on here. Bethany has long suspected the practice of pottery can be therapeutic, and invites those who visit her studio to assess their state of mind before and after a session using a self-reporting questionnaire known as Positive and Negative Affect Schedule. This allows participants an opportunity to acknowledge how their feelings may have changed after a bout with clay creating. In the curing process and through several firings, the piece may change as well. It still may surprise everyone by developing small cracks or unexpected patterns of finish after it’s glazed. It takes time to see the final result. “Ours is a culture of instant gratification,” Bethany says. “This teaches patience.” The process is part of the product. With one’s hands in clay, “you’re subconsciously using the creative part of your brain as you’re consciously making choices,” she says. The Conways’ studio offers an opportunity to explore the craft of pottery before making a serious investment, to take lessons, rent equipment, or simply get a “taste” of pottery. For more information, or to learn more about booking a pottery-making session, find them online at bethanysheart.com and use the contact form on the page or call (607) 346-2437.
Karey Solomon recently made her first wheel-thrown pot – a beautiful blue bowl that holds about one scoop of ice cream.
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(4) Courtesy Jennifer Miller Restoring history: the original Civilian Conservation Corps Camp at Darling Run.
Time Travel at Darling Run Camp
Following in the Footsteps of the CCC, a New Crew Carves a Clearing in the Forest By Lilace Mellin Guignard
P
ark at the Darling Run Access Area for the Pine Creek Rail Trail and walk south about five minutes. Look up into the pines downstream for the white spot that tells you a bald eagle is watching your journey back through history. Pass Strap Mill Hollow. Just as you hear the gurgle of Darling Run, stop to read the sign explaining that from 1935 to 1941 there was a Civilian Conservation Corps Camp here between the gravel trail and creek. Until recently, the site of this CCC Camp was thick with pines, hardwoods, and alders, all of which hid the remains of stone foundations and an old flagpole. This summer, a crew of five youths, led by Tioga County resident Sean Minnick and aided by staff of the Bureau of Forestry, have carefully cleared some of the area to create six campsites that will be open in the
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spring of 2022. Soon there will be interpretive signs to show how the camp was laid out, and you’ll be able to compare the spruce by the flagpole in the photo to the ones by the flagpole in front of you. Jim Hyland, a Department of Conservation and Natural Resources forester, came to check the crew’s progress and give a history lesson. President Franklin Delano Roosevelt started the CCC in 1933 as the country was in the midst of the Great Depression. “Like his older cousin Teddy, FDR had an innate love of nature that fueled his land conservation ethic,” Jim explains. Young able-bodied men—the average age was eighteen—from families on government aid came to the woods to work. Here they received two sets of clothes, three full meals a day, and thirty dollars a month of which
they kept five. The rest was sent to their families. The “tree army,” as it is often called, did more than plant trees, though they were responsible for re-foresting the “Tioga Desert” after years of heavy logging. They also built dams, state and national parks, fought forest fires, built fire lookout towers, constructed roads, and more. And the early crews started by first building their camps, which only existed on a map. They slept in World War I Army tents until barracks housed the 200 men that rotated every six months. So it continued until the bombing of Pearl Harbor, when the CCC camps were shut down and the young men joined a very different army. While the world was focused elsewhere, buildings fell in on themselves, leaves and duff covered the paths, and Pine See Time on page 28
GAFFER
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Time continued from page 26
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Creek and the eagles looked on. Now the lodging on this land will revert to tents again, providing the only public camping along Pine Creek north of Tiadaghton. It’s full circle for Darling Run Camp, where there had been a state forest camping area before the CCC came. This summer, the crew cut down trees, loaded fifteen truck loads of firewood, chipped branches to use on paths, put in six fire rings and picnic tables, built rustic benches, and cleared a trail to the creek. The crew is part of the Outdoor Corps, established in 2016 by Governor Tom Wolf, and continuing a proud Pennsylvania legacy—the Keystone State was second only to California in the number of CCC camps. The Outdoor Corps is run by the national Student Conservation Association, which was founded in 1953 and modeled on the CCC. The intent was to pick up where the CCC left off, providing for the upkeep of the national parks and other public spaces in which Americans recreate. Youths ages fifteen to eighteen work six weeks in the summer for twelve dollars an hour. Sean picks them up in the Tops parking lot in Wellsboro at 7:30 a.m. and drops them off again at 3:30 p.m. They work on DCNR projects, including building trails in Hills Creek State Park and planting goose deterrents at Lyman Run State Park. This is Sean’s second year as crew leader. After retiring from the National Geospatial-Intelligence Agency, he and his wife moved from Washington, D.C., to the quiet of Tioga County. Sean likes spending his summers passing on conservation values and a strong work ethic to young people. “This trains them to be stewards of the land, even if they don’t pursue an environmental field,” he says. “Every field deals with environmental impacts, and now they’ll understand the importance.” This year’s crew consists of William Lowe, a junior at Cowanesque Valley High School; Alexia Kshir, a junior at North Penn-Mansfield High School; Matthew Richards and Kanan Keck, seniors at Wellsboro Area High School; and Katie Nealen, who just graduated from North Penn-Liberty High School. They’ll tell you what they’ve learned the most this summer is “teamwork.” Would they bring their families here to camp? Alexia says probably not—her family is more into “glamping.” Katie nods, but they both mention that they may come without their families. “It’ll be cool to come back ten years from now to see what we did,” Katie says. What they’ve done, whether they realize it or not, is imprint themselves on this land beside Pine Creek, where their sweat has soaked into the same ground as that of those young men almost a century ago, where their muscles have strained like those before, and where their laughter has also been carried on the wind through the pines. Soon more laughter (and sweat) will come with those who paddle and pedal. Once open, campsite permits will be available for free, but reservations are required. This is the same policy for all campsites along Pine Creek. Contact the district office at (570) 724-2868 for more information about camping in Tioga State Forest or to request a permit. Lilace Mellin Guignard raises her kids in Wellsboro where she plays outdoors, gets wild with community theatre, and shakes things up at Sunday school. She’s the author of When Everything Beyond the Walls Is Wild: Being a Woman Outdoors in America.
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Cottage: A Place, A Dish, A Lifestyle Nostalgia for Dinner, Anyone? By Cornelius O’Donnell
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find the term “cottage” to be super romantic. Do you? And it certainly has a Twin Tiers resonance when you realize just how many cottages surround our Finger Lakes and the rest of our area. And then there are the hunters’cabins and small postWWII abodes that dot our landscape. I was reminded of this local cottage connection when I read a press release for a new book called Cottages for Every Season, Inspiring Homes with Classic Charm, by Cindy Cooper, published just last June by the 83Press, a boutique publisher affiliated with Hoffman Publishing out of Birmingham, Alabama. I searched further and found the same author published Country Cottage, Relaxed Elegance to Rustic Charm in 2018. Seems Ms. Cooper is the editor of the Cottage Journal magazine. I learned from their site that each issue “contains the most delicious recipes and menus,” as well as easy entertaining ideas. Right up my alley. During the months of quarantine, have you looked around your place and thought
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it might be a good move to upgrade the premises or even move to something a little more suitable for your current situation? I think a browse in the Hoffman output might be a “good thing.” My Brush with Cottages I think I realize why that word makes me feel good. Way way back, my grandmother lived in an apartment close to the Poe Cottage (as in Edgar Allen) that was situated on the Grand Concourse in the Bronx. It was real country when Poe was around. Invariably we’d mosey over there to play. (It is still there, I bet.) Then we moved from the Bronx to Queens and into one of those cottage-like (small) Tudors—brick, stone, slate roof, oak doors, and a large leaded-glass picture window with tiny insets of stained glass. (But small.) Then it was on to Syracuse when I was in the third grade. A classmate of mine had a dad who ran The Cottage Bakery in that city. I remember those large black and white
cookies his mother kept on hand for her son’s friends. We lived in a house (not a cottage) across from the gardens at Burnett Park (on a good day we could hear the animals up the hill and over at the zoo). But I remember cottage-sized places amidst the two-story houses on Tipperary Hill, where the green stoplight was above the red! A few years later we moved to the Albany area and would visit lakeside cottages in East Berne on Warner’s Lake, stopping for fried clams on the way at a place called Neil’s. No relation, but good memories. I still remember family friends had a rental with the main room lit by a chandelier formed from an old wagon wheel fitted with light bulbs illuminating the knotty pine. A decorating cliché then, and now, perhaps. When I started my career at Corning, I’d work closely with the company’s Canadian division based in Toronto. I learned that hordes of people would decamp to “the cottage” on weekends. It’s a way of life for so
many. And I now find myself, after a major downsize, in my own cozy cottage. No knotty pine or wagon wheels so far. I also became hooked on such as All Creatures Great and Small, the Bertie Worcester series, and writers such as Barbara Pym (there is even a cookery book compiled by her), as well as the Mapp and Lucia books and TV series. I reveled in the cottage settings of the author Thomas Hardy, imagining life in those places most associated with “rising damp.” I’d be lost without Masterpiece Theatre! And I never missed an installment of The Vicar of Dibley and its hysterical view of country life. When you have a moment, you might seek out a fat picture book titled 500 Cottages. And then, one day, I picked up a wonderfully evocative book by a naturalist food writer named Gladys Tabor, a Connecticut Yankee in the truest sense, and the author of so many charming books. Read on, friends. Rediscovering Gladys Tabor, Food and Nature Writer You’ve probably figured out that I am big on nostalgia, especially when it comes to culinary and country matters, and so it was fun to find a book on my shelves that I hadn’t looked at in a while. This was Gladys Tabor’s Still Cove Journal, and it’s all about her final years (she died in 1980 at eighty) in her cottage in Chatham on Cape Cod. I used to visit that charming town at least every year to see old friends. I noticed some yellow Post-Its bristling from a few of the book’s pages. Sure enough, in talking about her life there she had included several recipes. And they sounded good. I vaguely remembered that I made one or two over the years. Best of all, the book features a drawing of her cottage on the cover. I had picked it up for a song at the library’s book sale. Gladys, raised in Wisconsin and a Radcliffe grad, moved to Sudbury, Connecticut, to a rather large Cape Cod style house/ cottage with a friend. Here she raised her daughter and commuted to the big city when she taught writing at Columbia. That place was dubbed Still Meadow. And she wrote many books describing the forces of nature around her, as well as a couple of cookery books. A reviewer characterized the author thusly: “She emphasized the satisfaction that could come from pursuing the mundane tasks required to care for a house.” (Have you ever watched the Barbara Stanwyck film Christmas in Connecticut? A friend assures me this seasonal favorite on TCM was Tabor-inspired. It depicts a columnist for a national housekeeping magazine—Tabor was then with Family Circle— who, as a promotional stunt, is told by her magazine boss to open her home to a returning WWII hero for the holiday. Problem is, she has to borrow a baby, and she is a real klutz at cooking.) After she more or less retired, Gladys installed her daughter and family in the Connecticut house and moved to a smaller place on the Cape, a real cottage “cottage” she called Still Cove. Her last book, Still Cove Journal, was published the year she died. Here are several of her favorite recipes that I think you’ll like. They are unfussy and meant to be (mostly) prepared ahead. She liked to be able to enjoy her company and not dash to the kitchen more than was necessary.
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Game Birds I don’t see many recipes for what we used to call Cornish game hens these days. Pianist Victor Borge had a farm and raised See Cottage on page 32
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Cottage continued from page 31
these birds over the hill from where my brother lived years ago in Westchester County. 3 Tbsp. each butter and olive oil 2 small game hens, fresh or frozen, cleaned 2 c. dry white wine or vermouth Seasoned salt and freshly ground pepper to taste 6 Tbsp. chopped shallots or green onions (scallions) 2 c. button mushrooms (larger ones cut in half ) Heat the butter and oil in a heavy pan. Brown the hens in this, turning to brown evenly. Add the wine and salt and pepper. Cover and cook for about 20 minutes. If they are frozen, cook until they are tender when pierced in the joint between leg and breast with a fork. Then add the shallots and mushrooms. Cook 20 minutes longer. Lay the birds on a hot platter and pour the sauce over. Serves 4. Country Baked Spare Ribs Gladys called this her “happy cooking.” I call it happy eating. She credits friend Jean Lovdal for these. 4-6 pounds spareribs cracked through the center and cut into pieces 2 bouillon cubes dissolved in 2 c. boiling water (I use low sodium beef broth) ¼ c. catsup 3 Tbsp. Worcestershire sauce Dash of cayenne or hot sauce 1 Tbsp. red wine vinegar Dash of celery salt 3 whole cloves 3 whole allspice berries ½ bay leaf 1 medium onion, sliced Broil ribs on both sides until browned. Drain off fat. Mix all other ingredients together and pour over spareribs. Cover with foil and bake at about 300 degrees until fork tender, about 2 hours. Serve with lots of paper napkins. (A covered 10-inch Corningware casserole is perfect for these.) Serves 4 to 6. Scalloped Scallops No exact measurements here, so just wing it with my suggestions. Here is how it appears in the book: Bread crumbs made up of half saltines, half white bread (I just use Panko, period), and a good bunch of (preferably Italian) parsley. Zap in blender. Lightly brown crumbs. Layer crumbs and scallops, starting with a layer of crumbs, in a buttered casserole. Finish with a layer of crumbs. Pour in enough cream to come almost to the top. Bake at 400 degrees for about 20 minutes. I have a feeling she used bay scallops, but I’ve made it with sea scallops (cut in half through the middle) and it was just dandy. Another scallop recipe follows. Scallop Soup á la Still Cove Again, this is how Gladys wrote it in in the old Gourmet magazine paragraph style: You’ll need two slices diced bacon, 1 cup thinly sliced potatoes, 2 tablespoons butter, 1-pint scallops (bay if possible), 2½ cups water, 1 tablespoon chopped parsley, ½ tablespoon chopped fresh thyme— more if you like it, or 2 teaspoons dried, 1 cup sliced tomatoes (I
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Mountain Home
SERVICE DIRECTORY
Jamie Oliver’s Cottage Pie For a unique cottage pie, you can find a vegetarian version presented by Jamie Oliver, that renowned British chef, by going to YouTube. You can have fun watching Jamie do his stuff and then gathering the ingredients and making it yourself. He refers to what we Yankees know as yellow turnip as “Swede.” Otherwise, you might be using a couple of other ingredients you may not have used before. If you have a bowler hat around you can wear it in place of your white chef ’s toque. I might have been Manhattan-born, but am drawn to “life in the country” literature. A friend subscribed to the weekly English magazine called Country Life, and I devoured it, especially the adverts featuring some pretty snappy places for sale. English and Irish humor just make me laugh. If you read this space regularly, you’ll have read about the cartoon series that runs in the back of Country Life. It features the doings of the landed, but not overly monied, gentry. It’s called? “Tottering-by-Gently.” And I’m doing that now! Chef, teacher, author, and award-winning columnist Cornelius O’Donnell lives in Horseheads, New York.
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use the equivalent from a can of Muir Glen fire-roasted), 1/3 cup heavy cream, 2 tablespoons seasoned bread crumbs, dash (1/8 teaspoon) of mace. The latter is the outer husk of nutmeg, and it is optional. A few grains of grated nutmeg will do. Cook bacon 2 minutes, set aside. Add butter, scallops, potatoes, parsley, and thyme. Sauté 2 minutes, then add water (preferably spring water) and cover. Cook very slowly for 2 minutes, do not boil. Add tomatoes and cook 5 more minutes, stir in cream, bacon, and crumbs. Sprinkle with mace. Stir again and serve in heated bowls. Serves about 4—maybe 2 to 3 depending on appetites. Gladys served this with garlictoasted rolls. Eaten with a view of a lake, who could ask for anything more? How could I leave out an old fashioned staple found across the pond and over here? I couldn’t.
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B A C K O F T H E M O U N TA I N
The Three Amigos By Linda Stager
M
ost of us have seen horses like these in our local fields. I call them the “Three Amigos.” They are sweet horses who seem to love to pose. The day I took this photo in Delmar Township, I knew the scene was just right with the fall colors and the farm in the background. I pulled off the roadway and ran out to the fence to say “hi” to the horses and to snap their photo. It’s a perfect fall portrait.
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