Portland Monthly Magazine September 1993

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The Parents’ Museum

l called the new Children’s Museumtoseeifmy11-year-oldson couldgoeverandtakealookatthe newexhibitsforawhile.

He’sanhonorstudentwholoves science.ThrivesonNationalGeograph¬ ic.HisheroisDr.RobertBallard.And Portlandhasabrandnew,funded Children’sMuseum,right?Yes!1hear there’sevenaSpaceShuttleexhibit hecouldcheckoutinthere,isn’t there?

Thisisoneofthosestoriesthat startsoutinabrightlypainteddory andthengetshit,fromoutofno¬ where,byaroguewave.

Climbintothedory.

Firstthere’sasilenceonthetel¬ ephone.Andthencomestheanswer unconsciouslycalculatedtoload youwithguilt:“Childrenbelow18 mustbeaccompaniedbyanadult.”

Tomethevoicebetraysasecret

joy.Zah!Imeeklysaythankyoufor makingmefeelterribleandhangup thephone.

Imeanshe’sright,isn’tshe? Whateverwouldamuseumdoifall ofasuddenalltheseunaccompan¬ iedyoungurbanchildrencameover and just hung around all day, learning?

Andwhatiftheycameatonce!

Digifyouwillthispicture:Myson is18.He’sbeendrivingforthree years.He’sbeenlearningaboutsafe sexfor10yearsandsayingnoto drugsfor12.Itistheyear2,000.

“Happybirthday,son.”

“Dad, do you know what this means?”

“Idon’tknow.Really.ButIlove you,son.You’realreadyincollege. Infact,you’recallingmecollect fromM.I.T.How’stheprojectgoing? Thismillennialismscaresme.”

“Itmeans1canvisittheChildren’s Museumunescorted.”

Thesilenceagain,reverberating. “Ah!" ■

PS.Interestinglyenough,thePortland Museum of Art next door welcomes anyoneofanyageatanytimeinany numbers.

MICHAEL WATERMAN

"Waterman’s paintings are notforthefaint-heartedand shallow-minded sometimes disturbing,alwayschallenging. withcontinuouslynewinterpretationsevenafteryearsofdailyexposureLikeallimportant pictures,theyaremorethesumoftheirpartsandrewardtheperceptiveviewerwithinsightsinto what it means to be human "

Represented by:

LETTERS

The Rusu Twins

Justaboutthistimetwoyearsago when1hadsucceededingettingmy firstprofessionaljobasahydroge¬ ologistintheUnitedStates,Iwroteto youaletterofjoy.

NowIhaveaspecialreasonfor writingtheselines.

Thereisnothingonearthwhich canexceedthehappinessofapar¬ entthantoseetheoutstandingper¬ formanceofhiskids.Iamthehappy fatheroftheRomaniantwinstudents RaduandDanaRusu,juniorsatthe PortlandHighSchool.Eventhough mytwinsdonothavethesameareas ofinterestanddonothavethesame achievements,1amproudoftheir educationatPHS.

Thefactthatmydaughter,Dana, hassucceededincompletingthe schoolyearaftermorethanfour weeksofhospitalizationisaproofof acooperativeeffortbetweenPHS andMaineMedicalCenteronthe onehand,andparentsandstudent ontheotherhand.Thefactthatmy son,Radu,becameamemberofthe NationalHonorSocietyinMay1993 isareflectionofahighqualityinthe educationprovidedbyPHS.These aretwoevidenceswhichtellalot abouttheopportunityforimmi¬ grantsintheUnitedStates.

DuetomyprofessionIamaway fromhomemostofthetime.Iwas impressed by my son’s achieve¬ ments in mathematics and com¬ putersciences.Hedidwellatsev¬ eralmathcompetitionsinPortland, Lewiston,andOrono.Inorderto increasehisknowledgeinthisarea, hehassucceededincompletingtwo 2-semestercourses—CalculusIand II,andProgramminginPascal—asa PTstudentattheUniversityof SouthernMaineinPortland.

Iwasveryhappytohearthatmy songotthechancetoparticipatein thenationalcompetitioninmath¬ ematics which was held in June 1993atPennStateUniversity.Iwas evenmoreastonishedwhenhetold meaboutascholarshiphereceived forspecialtraininginmathematics

duringJulyandAugustinBoston.As a follow-up of PHS recommenda¬ tion,mysonisnowinvolvedwithin thePROMYSprogramatBostonUni¬ versity.

The PROMYS Program is spon¬ soredbyBostonUniversityandthe NationalScienceFoundationinan intensiveefforttosolvealargeas¬ sortmentofunusuallychallenging problems in Number Theory. The programisdesignedtogivestudents anopportunitytopracticetheartof mathematical discovery—numeri¬ calexploration,formulationand critiqueconjectures,andtechniques ofproofandgeneralization.

Ithinkthatthisnewexperiencefor mysonisthemajorcornerstonein hislife.Iamconvincedthatthe chancetohearfirst-handlecturesof professionalmathematiciansand well-knownteachersfromBoston Universityandtointeractwith18 college-agedcounselorsfrompres¬ tigiousuniversitieslikeHarvard, Yale,MIT,Stanford,Princeton,and Brownwillposeaturningpointin hisworkonincreasingtheskillsin mathematicsandingettingalong withstudentsaroundthecountry.It wasanicesurprisetometofindout thatmyson’sroommateisaRo¬ manianstudentfromWestHartford, Connecticut.Mythoughtswentback tothetimewhenIwasastudentin Bucharest...

Afteroverthreeyearsspentin Portland,myfamilyhassomestrong rootsinMaine.Idon’tcarewhen someofmyco-workersattheMary¬ landDept,oftheEnvironmentcallus “Maine-iacs.”Indeed,thereisno doubtthatweare“RO-Maine-iacs.”

AsafatheroftwostudentsatPHS, Ihaveadeepesteemandconsider¬ ationforallteachers,counselors, socialworkers,tutors,andmentors whohavedirectlyhelpedorcon¬ tributedtoimprovingtheeducation ofmychildren.Theireffortismore thanappreciated.Theyhelpusseea dreamcometrue.Andwhatcouldbe moreimportantforanimmigrantin America.

VasileDorinRusu

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PORTLAND

■ Maine's City Magazines

Established1985 VolumeVlll,NumberVI,September

Colin Sargent

Editor & Publisher

Nancy D. Sargent

ArtDirector

Kirk Reynolds

Managing Editor

Cheryl Casey

Publisher’sAssistant

Johanna Hanaburgh

Copy Editor

Sandy Nelson

Advertising

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ContributingEditor:ElizabethPeavey,Staff Photographer: Francis DiFalco; Graphics Production Assistant Colin S Sargent.

Founders Colin And Nancy Sargent

This magazine is printed on Maine-made paper produced by Champion International, Bucks¬ port,Maine.

Laser Cover Separations and image assembly by Graphic Color Service. (800) 660-7714.

PORTLAND Monthly Magazine is published by Colin and Nancy Sargent, 578 Congress Street. Portland, ME 04101. All correspondence should be addressed to 578 Congress Street, Portland, ME04I01.

AdvertisingOffice:578CongressStreet,Port¬ land, ME 04101 (207) 775-4339.

Subscriptions:InsideU.S.:$20for1year.$32 for2years,$40for3years.OutsideU.S.:add$6.

Billing Questions: If you have questions re¬ garding advertising invoicing and payments, callCherylCaseyat775-4339.

Newsstand cover date: September 1993, publ. August 1993, Vol. 8, No. 6, copyright 1993. PORTLAND Monthly Magazine is mailed at third-class mail rates in Portland, ME 04101. (ISSN: 0887-5340). Opinions expressed in ar¬ ticlesarethoseofauthorsanddonotrepresent editorial positions of PORTLAND Monthly Magazine.Responsibleonlyforthatportionof any advertisement which is printed incorrect¬ ly. and as compensation we will run a correc¬ tion in the following issue. Nothing in this issue may be reprinted in whole or in part without written permission from the publish¬ ers. Submissions welcome, but we take no responsibilityforunsolicitedmaterials.

PORTLAND Monthly Magazine is published 10 timesannuallybyColinandNancySargent,578 Congress Street, Portland, with newsstand coverdatesofWinterguide,Feb./March,April. May. Summerguide. July/Aug., September, October, November, and December.

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Well,wemadeit.Theshankof summer’sbehindus.Thespare housekeysarebackonthehook, the hamper is no longer crammedwithguesttowels,and there’sactuallyhotwaterleftfor yourshower.Youhavecavalierly rompedatFortWilliamsandTwo Lights,eateninthefloating restaurantandonsplinterypic¬ nictables,circledMackworth Islandtillyou’redizzy.Youhave bouncedbabiesonyourknees, reminiscedtilldawn,andward¬ edofffamilyfeuds.Youhave beendraggedfromthetopofthe ObservatorytothedepthsofFilene’sBasement,throughthe hordes to L.L. Bean’s and throughthesolitudeofWolf Neck—all the while, somehow managingtodoyourworkand keepyourhouseholdinalbeit disheveledorder.

Youhavelistenedtoyourcity bepatronized(“It'ssoquaint!”) orbenevolentlydubbed“livable” (by thems that thinks they knows),withtheairofthebackhandedpraiseforabeautiful,if somewhatslow,child.Whilethe friendsandrellieslovetovisit, theyaren’texactlysurehowyou canactuallylivehere.Ifthey choosetoseePortlandasall beachrosesandclambakes,who areyoutobursttheirbubble?

Soon,thelobstercookerwillbe storedaway,swimsuitswillno longerdanglefromtheshower rod,andthewidearrayofout-of-stateplateswilldiminish. Gradually,youwillreclaimyour city:daretoventuretoCommu¬ niquesforabirthdaycard,drive out302withoutbringingalunch, orevenvisitDewey'sonaSatur¬ daynightwithoutfearofgetting pinned or hazed. Before you knowit,thetreeswillexplode withcolor,theleaveswillfade andfall,andtheBeanbootand parkingbanseasonwillbejust aroundthecorner. —E.P.

TheMysteryOfDozierBell

StoryByColinSargent,PhotosByKevinLeDuc

Imaginethis.You’rethemostsuc¬ cessful,fastestrisingyoungpaint¬ erinMaine.Well,in1993,only DozierBellcanjustifiablyimagine that.

Butyourlifeisbecomingcompli¬ cated.You’vejustgonethrougha roughdivorce,andallofasudden you’restartingtogetdizzyspells.Your paintings are fetching well over

$12,000eachtocollectorsacrossthe country,butyou’redizzyallthetime. Whatisthemysteryofthisdizzi¬ ness?

MeetingDozierBellislikecatch¬ ingadeerinyourheadlights. Notoriouslyshy,she’sabit jumpywhenshetalks,easyto startle,lookingupquicklywhen anunexpectedvisitorcomesintoher

newthird-floorstudioonCenterStreet inBath.Thepainter’sJoanBenoit.Her studioechoeswithexpanse:thedoor, afewwindows,justafewbrand-new paintings,one,herlatest,leaning againstthewall.Big,scary,itsucksyou inwithitsdarkness.Andthen,invis¬ ible,behindthelargeblankwalltothe north,isthevastgreenironnetworkof Bath’sgiantsuspensionbridge,Carl-

tonBridge,whichhaspulledherhere likeamagnet.Thoughyoucan’tseeit, it’sthemostsignificantthingabout Dozier’sstudio,thefactthatyoucan’t seeitwhileitrushesbyinstasis,an invisibletrain.

It’salottocontendwith,thissensi¬ tivity,thisshyness,butthenshe’s standinginfrontofworkswhichare anythingbutshy,big,boldcanvasses whichconfronttheblackvastnessof nihilisticMainelandscapes.

Thisdizziness.

WhatisthemysteryofDozierBell? 1walkovertoherdesk.There’sa littleglassballonit,thekindthat containswintersceneswheresnow comesdownwhenyoushakeit.“What isthisthing?”

Allofasuddenthesnowisblack everywhereinsideit.Dozierlaughs. “It’ssoot.”

Thereisablackcrosshaironthe outsideoftheglass,Dozier’ssignature markwhichsheputsonanumberof paintingsasasortofindextoinfinity. Shesortofblushes.“It’sfromafriend.” Hersistheartof“theinternalized landscape,”aneuralcalmness with cross hairs and focal pointsthatbringformalatten¬ tionto,well,nothing,andthen teasesyouwiththatnothing.

“Ilikesummer,butitseemslikea party,”shehassaidinprioranswerto anyquestionsabouttheblacksnow. “I’malittlerelievedwhenthetreeslose theirleavesandIcanseetheirstruc¬ tureagain.”

Thoughtful,modest,andconsider¬ ate,sheadmitsshestillhatestyping outgrantproposalsonanoldOlivetti manualtypewriter(“Ittakesmefor¬ ever”)—shejustcamebacktoMaine fromaRockefellerfellowshipinItaly— and in spite of the lack of word processing has increasingly won praisefromMainersandcollectorsin widerandwidercircles,nowthelikes ofAT&Tcorporatecollectionsand Oryx,Inc.ofDallas,Texas.

Itwasafairlyrapidriseforapainter who seems more interested in the bonesofthingsthanfame.

“IwasajunioratSmithCollege whenIchangedmymajorfromphil¬ osophytoart.”shesays.

Bornin1957,sheearnedherMFAat theUniversityofPennsylvaniain1986, whereshestudiedwithNeilWelliver, whosummersinLincolnville;andex-

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pandedherskillsattheSkowhegan SchoolofPaintingandSculpture,1985, whereshewasafullscholarshiprecip¬ ient.Shegraduatedmagnacumlaude, PhiBetaKappafromSmithin1981. ShecreditsWelliverwithhavinga majorimpactonherart:“No,he’s reallyit.He’stheonlypersonI’ve actuallylearnedanythingfromin termsofinfluencingmyprocessatall.I generallydon’tcarewhatpeople—I shouldn’tsaythat—hewastheonly personwhoIfeltIunderstoodtheun¬ derlyingdirectionofwhatIhad.’’ Bellsaysthat,iftherewasaEureka momentforher,itmightwell have been during her second yearofgraduateschoolatPenn. “Ihadbeendoingportraits,but thenIgotthesefatcharcoalsticksand startedmakingmotionslikethese.”

Verticalstuff.Someofthesehighly symbolicimageswereprecursorsto the,well,cursorsornavigatormarks shemakesnow,whichhaveevolved fromindividualrepresentationalob¬ jects,liketrees,tonoumenaltel¬ ephonepoleimagestospires,spin¬ dles,andcrosshairstotheuncon¬ sciousworld.“NeilWelliverwasmy instructorthenandheurgedmeto concentrateonthat.Hehasagiftfor seeingwhatastudent’sparticulartype ofvisionis.”

She last saw him in April. But reachedfromhisLincolnvillesummer residence,Welliverisemphaticabout Bell’stalent.Rememberingtheirfirst meetingatPenn,hesays,“Iraninto Dozier and Dozier had been badly trained.Okay?Ifyou’renotapainter youwon’tunderstandthat.

“She went to Smith and was en¬ sconcedinbullshit,astheysayin Lincolnville.Shewasextremelyshy. Andthen1suggestedshemakesome changes,whichshedidn’tdo,butthen shemadesomeotherchangesonher ownandsheisaces.She’safirst-class painter.”

Hisvoiceboomsonthetelephone. We’retalkingaboutanunusualalli¬ ancebetweentwoprivate,highlycon¬ fidentpainterswhoseworkhasalmost nothingincommon.

Welliverthinksawhilewhenasked ifheknewrightawayaboutDozier,the firstmomenthetalkedtoher,or workedwithher.Howdidithithim? “No,Ifeltthataftershe’dmadesome changes.AsaruleIdon’tlikepeople’s

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paintingbutmyownbutsheisan exception.Herpaintingsaren’tlikemy paintings.Whatisthereisanextremely finemindandafineeye.

“She’sabigtimerandshewillbea bigtimer.Itwillbeonagrandscale. Andblahblahblah.Whatmorewould youlikemetosay?”

It’sobviousthatshelikesitwhen thingsarereturnedtotheelemental, horizonandsky,watersocoldit’s numbing.

Herlandscapesaremoresparethan theIslesofShoalsindeadwinter, whenit’ssocoldeventhegullsfly away.Butthere’snothingexternal aboutthem.

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_Theuprightstaffs,whichI call‘markers,’aremore orless‘masculine'—they arealsonavigational points.Alternately,the markersseemtobesuper¬ humanfiguresinthe landscape,actingout varioustermsof relationshiptotheviewer. 55

“My paintings are the inner counterpartsofexternallandscapes, formedbyaprocessIcall‘genetic memory.’ Ancestral landscapes— thoseplacesfamiliartogenerationsof afamilyentity—becomeprogressively embeddedintheinnervisionofits members.Theretheyassumeaform thatreflectsboththesumofthemany obse.'vedlandscapes,andthecol¬ lectivepsycheofthefamily,"states Dozier’sartist’sstatement.

“Theuprightstaffs,whichIcall ‘markers,’aremoreorless‘mas¬ culine’—theyarealsonavigational points.Alternately,themarkersseem to be super-human figures in the landscape,actingoutvarioustermsof relationshiptotheviewer.”

How did Dozier get the name Dozier?

“It’smymother’smaidenname.” DoesDoziersleepwell?

“1sleepreallightly.1usuallywake

1993-94SEASON

1’he(JlassMenagerie byTcnnesseWilliams October7-October24

Willi; aneveningofwildernessandspirit byJohnPielmeier & BillyBishopOoestoWar byEricPeterson&JohnGray (inRotatingRepertory) November 4 - November 28

AChristmasCarol adaptedbyMarkTorres December9-December23

NightMustFall by Emlyn Williams February10-February27

Nebraska byKeithReddin March24-April10

The Bug RichardStrand April28-May15

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upafterdreams."

Andaftershewakesup?

“Ijustliethereandthinkaboutthe dream.”

Colorofhercar?

“Lightbrown.It’saToyota.”

Yearofmanufacture?

“Nineteeneighty-four.”

AcompulsiveTVwatcher?

"No.1writelettersaboutanhour everyday,byhand.”

Wheredoyougetideasorconcepts forpaintingsmostoften?

“BeforeIgotobed.1usuallyjustlie thereforawhile.1fallasleepat9:30or 10.”

RelativesinMaine?

“1havetwobrothersandonesister. Myolderbrotherrenovatesapart¬ ments.He’seightyearsolder.The brotherwho’stwoyearsolderisa surveyor.Mysister,11yearsolder,is studyingforherMSWatUSM."

Whatdoesthatmean?

“MastersinSocialWork.Myfather diedofcancerin1989.Mymotherstill lives here in Maine." i

Whyareyoufamousfornotwantingj totalkaboutyourwork?

“1don’tliketotalkaboutmywork.It soundsstupidwhen1trytodoit. Picturesjustevokesomanythings.”

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Were Maine j biggestandbest. Callusat772-1171orcomevisitus at 685 CongressStreet.Portland, andseewhatsetsusapart.

ReturningfromPennin1986,she wasalmostimmediatelyidenti¬ fiedasatopartistandearneda placeamongtheregularsex¬ hibitedattheO’FarrellGallery inBrunswick.

ByDecemberof1988criticEdgar Beemhadcalledherrepresentativeof a“newgenerationofartistsgiving Mainesomethingithasn’thadsince thedeathofMarsdenHartley(18771943)—atruenativevision.” Dozierhadbecomeahotproperty. But she was doing something that wouldlatermakeherdizzy.Friends

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undoubtedlybegantoworry.Whatwas wrongwithDozierBell?

THECRITICmostontargetindes¬ cribingBell’sworkisFredericKoeppel,artcriticforTheCommercialAppeal inMemphis,Tennessee:

“Wefindourselvesinalandscapeas spareastheartist'sstripped-down paletterangingfromdensecoal-blacks topearlygraysandblindingwhites. Strangely,thisbleaknessisnotde¬ pressingorcircumscribing.There¬ ductionofpaletteandincidentpro¬ ducesasenseofpre-ness,ofthe universebeforetheexplosionanddis¬ tractionofcolor,beforetherewereso manyextraneousformstoattractour eyes.Thisistheplacewhereyou encounterbeginningsandyouareon yourown.”

WhichbringsusbacktoCarlton Bridge.“Ilikebeingherebecausewe movedtoBathwhenIwasakid.I alwaysfeltthebridgearoundme.I usedtoreturnhereallthetime,soIjust decidedtocomebackandstartthe

studio. I remember hiking, being around the ocean and the beach. That’sbasicallywhyI’mhere.Carlton Bridgeandthebeach."

Shelooksthroughthewalltoward thedeafeningmagnetism.Isthiswhy shehasn’tleftMaineforNewYork?Is sheunabletoleaveMaineforNew Yorkbecauseofthis?

“Moreorless.”

Askedtopickawriterwhose styleresemblesthewaysshe thinksaboutpainting,sheeven¬ tuallyoffers,“ThomasMann,in thewayhecomesbacktocer¬ tainthemes.Onamechanicallevel he’llhavecertainthingsappearagain andagain.”

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No,shesays.Insteadit’sintheway herepeatslittlethings,thesmallest phrasesordetails,incrementally changingthemsometimes,butstill circularimages,repeating,hardlyan obsession.

She lives in nearby Richmond, Maine,withtwodogs,Joe,abeagle mix,10,andFrieda,ablackdog,age8. They,inoneformoranother,arealsoa partofherUr-worldofsuperliterate symbols.

Those early marks you made at Penn—weretheydirectancestorsof themarkersyouusetoday?

"Ingraduateschoolitwasn’tthe samevocabularyofmarks1usenow— itwastreesorsomesortofmarksthat servedthesamepurpose.”

“Pillarsandcolumnsinsertedinthe landscapes—slendertotemsliketel¬ ephone poles—guide our eyes down what otherwise might be the per¬ spectivelessreachesofherpaintings," writesFredericKoeppeL“Crosshairs provideatargettoinfinity.Westandin thehereandnowasfirmlyasinthe amorphouseternal.

“Inasense,all20thCenturyart attempts to reach ground zero—to strip,plane,openfromtheinsideout. DozierBell’sworksmanagetomake viewersfeelasiftheyarestanding insidethestark,drainedexplosionsof her landscapes. There we are at groundzero,theedgeoftheworld,the launchingpadtoinfinity.”

Thesepaintings“seemtoapproach usfromalongdistance.Amasterof compression,shecreatesshadowed yetluminousvistasthatbeliethesize ofherwork.Itisalwaystwilightin thesepaintings,alwaystheendofthe road.”

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Shemeditatesforaround20minutes whenshewakesup,startingthedayat around6a.m.Beforethatshefeedsthe dogs.

Soloexhibitionshaveincludedthe O’FarrellGallery,Brunswick,1987;SchmidtBinghamGallery,NewYork,1988;Mar¬ ilynButlerFineArts,Scottsdale,Ar¬ izona,1989;Schmidt-BinghamGallery, NewYork,1992.

Shewonafellowshipinpainting fromtheNationalEndowmentforthe Artsin1987aswellasa1990residency attheMillayColonyfortheArts,Aus¬ terlitz,NewYork.

She’sbeencollectedbymajorart¬ collectingfirmssuchasMetro¬ politanLifeInsuranceCo.,New York;AT&T,NewYork;Prudential InsuranceCo.,Newark,NJ;No¬ muraSecurities,NewYork,andOryx Energy,Dallas,TX.

Nowisn’tthisstuffjustboilerplate?I meaneverybodyhascredits,right?So holdonasecond,I’mdialingupthe OryxEnergyCompanyinDallas,Texas totalktothepersonontheotherside ofthecountrywhorecommendedthe purchaseofDozier’spainting,anart consultant named Shel Kasmir of Dallas.Imean,doyoureallythink thereissuchathingasanOryxEnergy? Okay,I’mhandingyouthetelephone andshe’stalkingtoyourightnow.

“Hello?”

“Yes,I’mreadingamagazineupin Portland, Maine, and I’ve always thoughtpaintingsdisappearedonce someoneboughtthem.Iunderstand youpurchasedaDozierBellpaintinga fewyearsago,andI’minterestedin whatqualitiesyouthinkithas.”

“1boughtitthroughthegallery, Schmidt-Bingham. I probably con¬ tactedthem.Ijustlikedthefeelingand theatmosphericpartofit.Ithoughtit wasmysticaland...unusual.Nowtheir takeonit(atOryx)wascompletely different.You’renotgoingtomakeus outlikehicks,areyou?”

“I’mcallingfromMaine.We’rethe hicks.”

“1thinkweare.Anyway,oneofthem saiditremindedhimoftheoilfieldsin thePermianBasininTexas.Another thoughtthemarkerswereasortofsign post.Theyallrecognizethatthey’re signpostsinspaceortime.They wouldlovetotellyouthey’rejusta bunchofengineers,but—”

“No,actuallythosesoundlikereally FAMILYEYEWEAR

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quitevalidresponses.”

“It’sontheexecutivefloor,”she says.“Ithinkherpieceisreallytheonly abstractoneofthelot.Iknowitis.But itworkswithwhat’sthere.”

TheseDallaspeople,morethanany¬ thingwecouldwritehere,arecon¬ vincingevidenceoftheuniversalityof Dozier’swork.

Someviewers,Doziersays,areun¬ nervedbythepowerofhersubject matter.Somepeopleatgalleryshows, ofcourse,lovethem.Butthen“Iover¬ hearpeoplesayingthattheycouldn’t livewiththemandthattheyarevery inhospitableandcouldn’tstayaround themforalongtime.”

Shehadascareaboutthisrecently. “Mybestpaintingfrommylastshow waspurchasedbyUnitedTalentAgen¬ cy.”Then,oncethepaintingarrived, “Theythoughtitwastoodourandthey wantedsomethingmorecheerful.”

Thentheychangedtheirmindagain andkeptthepainting.

By the way, your paintings are somewhatrepresentational,sowhat doyoucallthem?

“Somewhatabstractlandscapes.” Haveyoueverlostone?

“UPSloosesthings,butIinsure themforsomuchthattheymagically returnthenextday.”

Andyoupaintmostlyinacrylicsnow. “Yes.”

Why?

“Becausetheylearneditwasthe turpentinethatwasmakingmedizzy. AtfirstIthoughtitwassomething else.”

Whatelse?

"Painter of Place, Painter of Passion"

RepresentedinPortland By June Fitzpatrick Gallery

112HighSt.,Portland,ME04101 207-772-1961

OppositeTheCopperBeechTree,Portland MuseumofArt Galleryhours:Noon-6Tues.-Sat. 8p.m.Thursday

Shelooksatme,herheadinvelvet. “Sorethroats.”

Turpentine!

Sheusednearlytobatheinit,binge onit,jazzallherworkwithbathsof turpentine.“Iusedtodumpturpentine oncanvasesandtipthecanvasesso thatthepaintwouldchange.I’dget theselayersofchance.ButIneverhad astudiothathadgoodventilation.By thetimeIquitIwasreallysickofthe limitationsofoil.Icouldn’tfeelasfluid andspontaneousasinthepast.”

Newsurface,newstudio,newlife. Whatistheprocessyouuse?

“It’sakindofintuitiveshuffling.”

Shewalksovertoagorgeousnew paintingandmovesasingleimageon it,dramaticallytowardthelowerleft. Andtheroomstartsspinning.H

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StorybyElizabethPeavey

AFRIEND RECENTLY

CALLED

toinquireifIknewthatPort¬ landwasonceagreatmanu¬ facturer of melodeons. It seemshehadrunacrossone atayardsalelastsummerandwas stilllamentingthefactthathehad notshelledoutthepaltrysumof$25 andpurchasedit.Hewaxedrhapsod¬ icaboutthe“finelycraftedburled hardwood casing” and “ the name Portland Melodeon Company embla¬ zonedingorgeousgoldleafscript," untilIhadtointerrupthimandask exactly what a melodeon was. An exasperatedsighwasfollowedwith: “it'sasmallreedorgan.”

Iwascatapultedbackwardsinto memory.Ithoughtofthebattered andwheezyorganshovedinadark cornerofafriend'scottageatBrig¬ ham’sCove.Wewouldoccasionally resorttoitforentertainmenton rainydaysafterwehadexhaustedall otheramusements(usuallyafterone ofmywinningstreaksatParcheesi— asortofretribution,Isuppose).I remembered nothing beautiful and burled;allIrememberedwasthatI was always the one who got stuck

hunched under the organ pumping thepedalswithmyhands,whilemy friendSusankneadedoutthenotes to“HeartandSoul”overmyhead.I still,tothisday,hatethatsong.

No,IdidnotrealizePortlandhad oncebeenagreatmanufacturerof melodeons, but‘I decided to root around and try to uncover some informationontheelusivePortland Melodeon Company.

WeknowPortlandwasoncecalled “ForestCity,”butitseemsthatdur¬ ingthemid-to-late19thcentury,it also could have been nicknamed “OrganTown.”AccordingtotheCity Directoriesforthatera,therewere three major manufacturers of melodeonsinPortland:WilliamP. HastingsofChestnut,thenExchange Street;SmallandKnightofMarket, then Exchange Street; and J.D. Cheney’s “Excelsior Organs and Melodeons,”listedattwosuccessive MiddleStreetaddresses.Therewas alsoaspateoforganretailersinthe area.Itwasabigtimefororgans. Informationisscantabouttheactu¬ aloperationsatanyofthesehouses. Istumpedresearchersatboththe

PortlandRoomandtheMaineHistor¬ icalSociety,although1foundthatthe last reference made to melodeon manufacturinginPortland,according totheCityDirectories,is1881.It seemstheseorgansenjoyedonlya briefheyday,theywereasortofVic¬ torianCasio,ifyouwill.Whatis knownaboutthesehousesfollows: Accordingto“TheNewEnglandRail¬ wayandManufacturer’sGazetteer” of1869,WilliamP.Hastings“com¬ menced the manufacture of organs andmelodeonsin1850.”In1869,he occupiedatwo-storybuildingat15 ChestnutStreet,had8employees, producedabout150instrumentsper year,doingbusinesstotheamount of$15,000.Aprintedadvertisement boasts:“Ireceivedthehighestpremi¬ umatthenewEnglandandStateFair in1869.1alsohavetheexclusive righttousetheWilcoxPatentBel¬ lows and Tremolo, which is pro¬ nouncedbyjudgestobethebestin use.Allinstrumentsmanufactured bymearefullywarranted.”Small& Knightalsoenjoyedapparentsuc¬ cess.EdwardH.Elwell’s“TheSuc¬ cessfulBusinessHousesofPortland, 1875,”reportsthatin1866,Daniel SmallandEdwardKnight“succeeded tothebusinessofJ.D.Cheney,and commenced operations just three weeksbeforethegreatfireofthat year.Theirfactorywasdestroyed, entailinggreatlossanddelayinthe re-establishmentoftheirbusiness.” AfterastintinWestbrookandthenin MarketSquare,theytookpossession of“theircommodiousquarters”at 154ExchangeStreetin1871,inaddi¬ tiontoaworkshopontheshoreof BackCove,wherethecasesoftheir instruments were made. According toElwell,“Theirinstrumentshave acquiredagoodreputation,giving satisfactiontotheirpatrons”and that“theirsaleshavelargelyin¬ creasedoflate,thebusinessofthe present year promising to double thatof1874.Theymanufacturedone hundredinstrumentslastyear,and arenowturningoutfourtofiveper week.Theygiveemploymenttonine hands and disburse two hundred dollarsaweektotheiremployees. Theirannualsalesreachthesumof thirtythousanddollars.”Elwellcon¬ cludes:“Reedorgansarenowvery

generallyused,andtheinstruments turnedoutbythisfirmaremeeting withanincreasingdemand.”

ND YET WITH ALL THIS, NO mentionisevermadeofthe Portland Melodeon Compa¬ ny.Iwonderifmyfriendhad perhaps inhaled too much mustanddustonhisyardsaleout¬ ing.Idetermineviewinganactual melodeon might unlock some mys¬ tery.Iaminluck:theMaineHistori¬ calSocietyhastwoinitspossession attheirnewdigsat489Congress Street."Iwouldn’thavebeenableto show you these before,” explains NanCummings,assheleadsmetoa storageroom.“Allofouracquisitions

organ,aharmoniumwithsuctionbel¬ lows.”Sowhatisit?Anaccordion,a rockinglaporgan,orafree-standing organ?“Well,there’sanareaoffuzz concerning organ terminology,” explainsDavidWallace,thecurator ofPortlandCityHall’sKotzschmar organ.“Generally,‘reedorgan’is usedasacatch-allforanumberof organs. But a melodeon is not encased.Theyaresmallerandmore delicate;theystandoneithercabri¬ olelegsoroctagonalpianolegsand havealyretowhichthepedalsare attached.Thelapmodelscanhave eitherkeysorbuttons,andyoumust pump them with your elbow as you playthem.Thebuttonmodelisone ofthemostdifficultinstrumentsI

monthsorso.”So,justasPortland hadarealestateboominthe1980s, when it seemed every barber and shop girl and grandmother was wheelinganddealingincondosand officespace,justacenturybefore, thiscityenjoyedamelodeonboom. He reconfirms that distinction betweenallthereedinstrumentsis murky. “European reed organs—the harmonium, for example—operate on pressure: the American organ operates on suction. Many people areconvincedthattheyownmelo¬ deons,when,infact,itisaseraphine; or think they have a harmonium, when what they own is a cottage organ. 1 don’t argue with them though.Ifyouwanttobesafe,you

have ever performed on.” Wallace expandsfurtheroncabinetorgans, parlororgans,harmoniums,cot¬ tageorgans,seraphines, andAmericanor¬ gans; ex-

plains about the Na¬ tionalReedOrganSociwerehousedatastoragefacility.” Weenteracrampedroomfullofmet¬ alshelving.1thinkshemusthave misunderstood me; I see no great burled cabinet. She unwraps a Casio-sized wooden case from its muslinwrapper.Thegoldleafscript reads: “The Boston and Worcester

ety;andthenrefersmetoJohn Morningstar of Alfred, whom he describesasa“reedorganexpert.”

Company of Brat¬ tleborough,Ver¬ mont (“many of thereedorgans you find in GreaterPort-

land were manuGfactured by them), but also changesinmusicaltaste.“Reed organs remained popular in rural areasafterpeopleinurbanareashad lostinterestinthem,buttheywere eventually replaced with upright pianos in many households as the domesticinstrumentofchoice.The real heyday for reed organs was

canjustrefertoanyof these instruments as a reedorgan.”Morningstar attributestheultimate declineinorganmanu¬ facturinginPortland to“aggressivecom¬ petition”fromEstey Company.”Thesecondmelo¬ deon bears no name orplateatall, obviouslysome generic knock¬ off.NowIamreal¬ lybaffled.Ishow hertheillustration from Hastings’ ad¬ vertisement.“Oh,we have one of those,” shesays,leadingmeto another room where a Small&Knightorgansits, “butthisisaparlororgan. 1realizeIdon’tevenknow

whatI’mresearchinganymore.Time formoredigging.

Ibeginbypagingthroughallthe encyclopedias of musical instru¬ mentsatthelibrary,andsoonam spiralingdownintoadarklabyrinth ofmusicaljargon.Ifinda“rockingor elbow melodeon” is a “free-reed organmadeintheU.S.from1825to themid-19thcentury.”Thiswould bethelaporganIsawattheHistori¬ calSociety.Melodeon,however,was “a popular name for the button accordion,asopposedtothepiano organ.” And according to Grove’s DictionaryofMusic,amelodeonis

1cuttothechaseandaskMorn¬ ingstarifhehaseverheardofthe Portland Melodeon Company. No, butheexplainsaboutthevastpopu¬ larityofmelodeons.“Theyweren’t expensivetobuy,theywerecertainly lessthanapiano,andthiswasthe firsttimefamiliescouldaffordtopur¬ chase a domestic instrument.” He continuestoexplain—butcautions thatitisonlyanunconfirmedsuspi¬ cion—thatanynumberofbusiness¬ es back then jumped on the melodeon bandwagon. “They could purchasekitsandquiteeasilymanu¬ facturemelodeons.It’sverypossible

betweenthe1850sandthe1920s.” Andthemelodeon,itseems,wasjust apassingfadfortrendyVictorians. Andwhataboutthattatteredblack leather organ I remember from my youth? “That would have been a portable organ,” explains Morn¬ ingstar. “They were popular from WorldWarI,upthroughthe1960s— particularlywithpreacherswho’d liketobangoutahymnortwointhe fieldandwithundertakerswho’d cartthemalongtogravesideser¬ vices.”Andwitheight-year-oldgirls who never tired of the insidious refrain of “Heart and Soul.” ■ manyofthesemakersonlylastedsix “an early name for the American

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AfewPSOmusiciansleadsurprisingsecondlives.

StorybyElizabethPeavey,PhotosbyKevinLeDuc

IMAGINE PULLING INTO A GAS station:“Fill’erup,checktheoil, andhow’boutafewstrainsof Bach’sDminorFugue?”Wasthat atubainatollbooth?Didyou hearthesoundofVivaldi’sstrings driftingoffalobsterboatinCasco Bay?Whataboutawash,set,anda coupleofChopin’smazurkas?

Wouldthisbesomesortofworking joe’s“Fantasia,”ornomoreanchovy pizzabeforebedagain?Possibly,but thesefar-fetchedillusionsreflectthe factthatafewmembersofthePort¬ land Symphony Orchestra do not descendthestairsofanivorytower cladinformalwearandstrideonto theCityHallstage.Someareworking members of our community; you may be surprised where you might findacelloplayeroraflutistpunch¬ ingaclockinPortland.

YoucanfindPSOFrenchhornplay¬

er,NinaAllen,forexample,pumping ironandmakingitburnoveratUSM. Allen,whohasbeenwiththesym¬ phony 17 years, has also been a HealthFitnessSpecialistwithLifeline for11years.Ofhermixedcareer paletteshesays:“IfIcouldhave choreographedmylife,Icouldn’t havedesigneditanybetter.”Shenot onlyenjoysthediversityofherlife andtheopportunitytostayinshape (“andgetpaidforit...”),butshealso ispleasedtofindanoccupationin whichshecanwearcasualclothesto work.“When1wasyounger,Inever woreanythingbutjeans.Mymother toldmeI’dneverfindajobwhere1 coulddressthewayIwanted.Iguess she never expected to see me in sweatpantsbydayanddressblacks bynight.”

Or—you can find the PSO’s tim¬ panist,ReggieBonnin,chattingup

RAMs and ROMs at Sam’s Club in Scarborough. Bonnin has been a ComputerExpertatSam’ssincethe storeopened.Butthisisnothisfirst brushwithmoonlighting.Hisexten¬ sive resume includes work as a singer,anactor,aphotographerand a touring musician. He owned his ownmusicbusinessforatime.This mostrecentoccupationsimplyde¬ velopedoutofaninterestincomput¬ ers.“Thingsgetalittlehecticwhen thesymphonyseasonbegins,"con¬ fessesBonnin,whoputsinaforty¬ hourworkweek,“butthestorehas been very accommodating about my performanceschedule.”

Andthenthere’sbassoonistArdith Freeman.You’dhavetobemovingat aprettysteadycliptofindheratall. Shemightbethrashingthroughjun¬ glesandscalingmountainsinimpov¬ erishedregionsaroundtheworld, teachingatUSMoroverseeingopera¬ tionsattheGorhamGallery.Freeman servicesmissionariesinher“off" time;thegalleryisaventureshe undertook,inpart,tohelpsubsidize her missionary projects. When I spokewithherlastsummer,shehad just returned from a ten-country tour—Europe and the Ukraine, Egypt,Tanzania,Ethiopia,Kenya, IndiaandChina—andwaspreparing forathree-weektriptoEthiopiato delivermedicalequipmenttomis¬ sionaryhospitals.“Thislasttripwas thefirsttimeIdidn’tplayevery¬ whereIwent,”saysFreeman,“and that was because I had so much investigativeworktodo.1wassitting inanairportinTanzania—amillion miles from home—and my flight is canceled.IhavetogettoIndia, there’sacrisisthere.Andsuddenly theceilingcollapsesinfrontofme andthesewersemptyfromthetoi¬ letsonthesecondfloor.Andit’snot sounusualinplaceslikethat,and youjustwanttogiveyourlifetolet peopleknowthatthere’shope.’ Freemanstressesthatsheherselfis notamissionary,butservicesmis¬ sionaries.Shereferstoherselfas“a peanut butter envoy.” The work comesnaturallytoher.Herparents weremissionaries(asisherson), andsheclaimsthatshevoraciously readmissionarybiographiesinher youth.“I’vealwayshadafantasy

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Calloruritejorfreeinformationor send$5forcatalog.

aboutaxingmywaythroughthejun¬ gle with a machete just to make someone laugh who hasn’t seen anotherpersonforayear.“

Herhusband,billstreet, ispastorofasmallchurchin Westbrook, and Freeman usesthechurchasabasis forherwork.Whileshefre¬ quentlyheadsgroupsofwomenfrom herchurchoncertaintrips,shedoes mostofhertravelingalone,usingher bassoon as an “ambassador.” She remarksthatherbassoongetsher, and more importantly, medical equipment,intomanycountriesand placesthatordinarilynooneelse couldgetthrough.“Ican’tsayfor sure,sinceI’venevertried,butI’m quiteconvincedIcan’tdothekindof missionaryworkI’mdoingwithout thebassoon.Idoknowthatitmakes italoteasier.”Shewillbebringing fivewomenwithherontheupcom¬ ingEthiopiatrip.Andwhilecustoms officialswillbeoglingoverher“snap¬ pybrochure”andherbassoon,these women’ssuitcaseswillbestuffed with medical equipment, much of whichcomesthroughtheFryeMed¬ ical Equipment Company, whom Freemancreditswith“findinggood products for us at reasonable prices.”

“I’lltellyouhowthisstarted,” explains Freeman. “One summer I wasteachingawomen’sBiblestudy group,andIsawthatthewomen’s thingwasgettingtobeabiggerand biggerdeal,soIprayedforguidance. Thenextmorning1wokeupwitha firetopracticethatIhadneverhad before.AndItookthatasananswer. ThatsummerIbeganpracticing4-7 !hoursperday.AndIunderstoodthat thosetwothingsweregoingtowork ■together.”Freemanseekswomento bringwithherwhohavea“united spiritualpurpose.”Shemakesitclear ithesearenotpleasureexcursions.“I runthesetripslikeaMarine.There’s nosight-seeing,noshopping.This kindofdisciplineisanewexperience formostofthewomen,andusuallya welcomed one. These trips can changethesewomen’slivesandgive themanewsenseofpurpose.”

Tocomplimentthis“newsenseof purpose,”FreemanopenedtheGor-

hamGalleryinSeptember,1992.“It’s averyclassylittlebusiness,”boasts Freeman.“TheGorhamGallerystart¬ edwiththeideaoftrainingwomento makethingsofthehighestquality,so theywouldlearnrealcraftsmanship, notjustsomethingtomakeabuck. Some of the women have developed remarkable skills." Cindy Milam, Freeman’spartnerinthegalleryven¬ ture,forexample,developedalineof jewelrythatisbeingwidelymarket¬ ed,withpiecesgoingforbetween oneandtwohundreddollars.Milam hasalsodevelopedherownbusiness fromherjewelry.There’sanother woman who makes bears and pigs, somemakecandiesorjellies,butfine artistsarerepresentedaswell.“We wanttheartistswhoareinthereto havelives,that’soneofthepriorities. Wewanttogivepeoplewhoareable tomakethingsaplacetodevelop. Wegivetheartist65%.Sofar,we’ve been using our 35% to meet over¬ head,andwe’rejustcomingtothe pointwherewearemeetingexpens¬ es.We’relookingforwardtobeing abletostartusingourprofits,and myguessisthattheywillgotomed¬ icalsupplies.Whateverprofitsthe storemakeswillgotosubsidizethe needsofvariousmissionaries.We don’tstickwithonechurch,”says Freeman.“Wetrytofindoutwho’s doingthemostgood.”Freemanher¬ selfpaintsclothingandmakescan¬ dy—“Haad (hard) Tack”—for the store.“Itrytomakeeverythingreal¬ lyperfect.Manyofthepeoplewho haveworkinthegalleryhavebeenat leastsomewhatdysfunctional.The gallery gives them an open-ended opportunity to grow and improve, whilealsocontributingtothemis¬ sionarygroupswesupport.”

Sherecountsaninterestingstory.In Augustof1992,shetooksixwomen withhertoNepal.“Itookthebas¬ soonandhadscheduledaconcertat theInternationalSchoolofKatman¬ du.Wewereaskedtobringmedical supplies,butofcoursetheyknew nothingaboutus.Youhavenocredi¬ bilityuntilyoushowup.Sowearrive, seven American women, with the onlybabysonograminthecountry ofNepal,alaryngoscope,allsortsof medical equipment—10 suitcases full.Asitturnedout,wechanged

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flightsatthelastminutebecauseI hadfoundacheaperrate,andthe flightweweresupposedtogoinon crashed and everyone was killed. BecauseIwastheonlyprofessional Westernmusicianinthecountryat thetime,thePrimeMinisterinvited metoperformatthenationalservice ofmourning.So1didabout20min¬ utes of unaccompanied bassoon musicforthewholepresscorps.It wasreallyquitemoving.”

VEN WHEN FREEMAN TRAVELS onconcerttours,sheisalways scoutingoutmissionaries.“The .tripsarehard.1havehoursof ^fruitlessphonecalls.1willnot workwithjustanygroup.Itrytofind peoplewithwhomIhaveaspiritual chemistry.Iworkoninstinctand1 keeplookingforthatchemistry.This lastEthiopiatrip,forexample,1 hookedupwithagroupcalledthe SudanInteriorMission.It’svery strangetojustshowupandtellpeo¬ ple that I’m coming back and ask them what they want me to bring them.Ethiopiaisanightmare.The amount of deformity in downtown AddisAbabajustbreaksyourheart. You’llpulluptoastoplightinacab andfourorfivelittlechildren—it lookslikeathalidomidemovie—are carrieduptoyou,orhopuptoyou, orrolluptoyou,orcrawl,begging formoney.Generalanesthesiaisille¬ gal there; the Communist govern¬ ment forbids it. They’re doing surgery holding people down. So we’re going in—six Maine women andabassoon—wedon’ttakethings thatwillgetusdrug-busted,but we’retakingantibiotics,anEKGmon¬ itor,they’rebeggingusforcatheter bags—theurinerunsonthefloorin thehospitals.They’vebeggedusfor bloodsuckers.Theydosurgeryas besttheycanwiththebloodjust flowing.Theyhavetoturntheperson sothebloodrunsout.Sometimesit justseemsthatanythingwedoisjust adropinthebucket.”

Andwhilethemedicalequipmentis obviously sorely needed, Freeman alsoviewsthetripsfromahuman standpoint.“Oneofmygreatfan¬ tasiesistolocatejungledoctorsur¬ geons and carry the stuff on our backs into them. And, of course,

whatwe’rebringinginnowreally helps,butit’ssuchanencourage¬ ment to the people who’ve given theirlivesthereandhavesacrificed materialthingsandsociallives—it’s reallygoodforthem.SometimesI justtakethemchocolateandpeanut butter,Garfieldcartoons,orIjust praywiththem.Itdoesn’talways havetobeagrandhumanitarianges¬ turetodosomegood.”Andthat’s where the music also helps. “The bassoon,particularlyfortheseWest¬ ernmissionaries,makesthemfeel loved.WhenIgetthere,Ibustmy butttopracticethepiecesIdofor them. The same month 1 played a recitalatCarnegieHall,1hadper¬ formed for some missionaries in Brazil,andIfeelIplayedbetterfor themissionaries.Thesoulneedsart. Andinmanyways,it’sjustasimpor¬ tanttoplayforthemasitistotakein medicalsupplies.Andit’sgoodfor mebecauseI’mgrowingasamusi¬ cianandaperson.I’vebeenplaying thebassoonfor31years,Ihavea couplefancymusicdegrees,butIfeel like1justbegantolearnhowtoplay whenIturned40.”

And how does Freeman manage all oftheseprojectsandoccupations? Shelaughs.“Firstofall,Ihavetwo full-time,volunteersecretaries.I haveto.Idoalotoftraveling.Last year1playedsevenconcertoswith orchestrasinternationallyandinthis country.(Shedoesn’tacceptfees whensheplaysinothercountries.)I wasalsoinRussialastyear,and1 brought my PSO music with me to practice.Inthelastyearandahalf, I’vebeenintwentycountries,butI alwayspractice.Toshiisreallygreat. I’ve been with the symphony 17 years.WhenI’mhere,I’mhere.I’m notlate,Idon’tmissrehearsals,I knowmypart.1trytoplanmysched¬ ulearoundthePSO,becauseI’mvery supportiveofthesymphony,andin turn,thesymphonyisverysupport¬ iveofme.”

Andthefuture?“Iplantodothis untilI’meightyyearsold.Ihavered hair,andI’mgoingtodyemyhairso it’sstillred,andI’mgoingtowear brightgreenandI’mgoingtohave tightlittlebaseballbunsfromscram¬ bling up mountains.” ■

LockStock 6Barrel

BehindtheScenes atPortlandStage

Rushinginwhereothersfeartotread.

StorybyElizabethPeavey,PhotosbyKevinLeDuc

PORTLAND STAGE COMPANY

artisticdirectorGregLearning isthefirsttoadmitthathis premiereseasonwasarocky one. “Flack?” He grins and pauses.“Yes,Itookalotofflack.”Up front,heconfessesthathisseason could have been better balanced. Gazingattheceiling,heticksofflast season’splaysandconsidersthem foramoment.“Maybealittletoo contemporary. Maybe not enough well-knownplays.Idon’tknow.Still, Iamproudoftheworkwedid.Ifeel eachhadfineproductionvalues.”

ItisimmediatelyclearthatLearning

isundauntedbythenegativefeed¬ backhehasreceivedsincetaking overasartisticdirectorlastyear. “Firstofall,”hestates,“alotofthose negativefeelingscamefrompeople who had already given up on us before1evengothere.1lovethework that’scomeoutofthistheaterbefore 1arrived—I’mnotcriticizingthat— butI’mdifferent.”Learninggrowscir¬ cumspect.“Nooneevergetsfedup allatonce;itbuildsup.Iwasgetting hatemail—whichwasveryupsetting tome—untilIrealizedthatmanyof the people who were writing were sayingtheyhadn’tsubscribedtothe

1992-93 season and were never goingtosubscribeagain.Ihadto wonderwhy,then,wasIdealingwith theguilt,whenmanyofthesepeople hadn’t even seen my work?” And Learningisquicktostressthatwhile he acknowledges he took a lot of flack,healsoreceivedagreatdealof support.Heisreferringtothefact thatnottoolongagothecitycame upwith$400,000topayoffanaccu¬ mulatedPSCdeficit.“Thatpayment ofdebtwasashowoffaithforme thatthecommunitywantsushere, thatwe’redoingtherightthing, goingintherightdirection.And that’sveryheartening.”

LEAMING PLANS TO OPEN THE PortlandStageCompany’s20th season with George Bernard Shaw’s“ArmsandTheMan.”“I believeintheclassics,”states Learning,whowilldirectthisproduc¬ tion.“That’swhydoingtheShawis soimportanttome.ButIalsothink it’simportanttotakearefocused lookattheclassics,dragthemoutof theirclosetskickingandscreaming, dustthemoff,andask,‘Whatdoyou haveforusnow?’Shawwroteaplay aboutBulgariaandRumania.Canwe, aftertheBosniancrisis,lookatthis playandlaughagain?Shawis,inmy opinion,thebiggestson-of-a-bitch who ever wrote for the theater,” quipsLearning.“He’ssoirritating,so bright.Theideascomefastandfuri¬ ously.He’sanactor’sdream.”

ThePSCwillnextbringbacklast year’sproductionof“HolidayMemo¬ ries,”byTrumanCapote.Thereason forthisrepeatismorethanitsgreat successlastyear.“Itwasn’tofferedin ourregularsubscriptionseason,and no one saw it,” says Learning. (Althoughthisisnotentirelytrue; marketingdirectorMichaelGepner boaststhatithadthegreatestatten¬ dancerecordofanyPSCproduction, including the much ballyhooed “Lady Day at Emerson's Bar and Grille.”)Still,itisatouchingand poeticreminiscencepiece,whichwill onceagainbeundertheartfuldirec¬ tionofTomPrewitt.Wellworththe rerun.

Learningwillthenoffersomething PSC audiences haven’t seen in a while:amusical.“ThreePostcards,”

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book by Craig Lucas and music by CraigCarnelia,tellsthestoryofthree women who meet once a month for dinneratafancyNewYorkrestau¬ rant.“Theplayisaboutwhatisnot spoken,”explainsLearning.“These women’sinnerthoughtsareexpress¬ edthroughsong.Therearetimeand realityshifts;thedepthsofrelation¬ shipsareexamined.”Learningwill alsodirectthisproduction.

Next, Learning hopes to present SamuelBeckett’s“HappyDays.”He thinksthisplayhasbeengivenabad rap.“It’saplayfewpeoplehave seen,”Learningcontends,“butthey have‘heard’it’sboring.SoIaskthem whatit’sabout,andtheycan’ttell me.That’slikelisteningtoacritic.It’s oneperson’sopinion.Isay,goseeit yourself,andyoudecide.”Though manymaythinkofBeckettasanold existentialgrouch,Learningisexcit¬ ed about the comedic elements of theplay.“Beckettlovedvaudeville. ‘HappyDays’ishystericallyfunny. It’sabouttryingtokeepagripon realitywhileit’scrumblingaround you.”Apropostoeverything. ThenextplayinthelineupisDavid Mamet’s—fresh from Broadway— “Oleanna.”Attainingthisplayisasig¬ nificantcoupforthePSC,asonly3-4 theatresinthecountryweregranted rightstoproduceit.Inspiredbythe AnitaHill/ClarenceThomashearings, “Oleanna” is Mamet’s commentary onpoliticalcorrectnessandsexual harassment.“It’sablowtorchofa play,”saysLearning.“Itwillpress everyoneofyourbuttons.”

Concluding the season will be a worldpremiereofConstanceCong¬ don’s “Losing Father’s Body,” a broadfarceconcerningatight-lipped Waspfamily.Fatherhasdiedofa heart attack in the northern New Yorkwoods.Hisbody,whichisbeing smuggledhomeinthefamilystation wagon, is “lost” when the car is hijackedbytwoNativeAmericansen routetoNashvilletofindfameand fortune.TheofficesofthePSCwere allabuzzthedayIwastherebecause avery“significant”granthadjust comethroughthatwillenablethe companytoproducetheplay,which includes11membersinitscast.

“WhenIputtogethermyseason,it’s abouttryingtoaccomplishthepur-

posesoftheinstitutionandofthe PSC’smissionstatement,thatis,to enlighten,entertain,andeducate.It comesbacktobeingnotaplayfacto¬ ry,butaninstitutionthatcreatesand keepsalivethetheatricalimpulse.I don’t want anyone ever to expect whattheyseeonourstage.Theater, ifitworkswell,iswhatmakesyou gasp—notintermsofspectacleor shockorterror—butintermsof‘I’ve neverthoughtofthatbeforeorseen thatbefore’or‘Ineverexpectedthat charactertofeelexactlywhatIfelt22 daysago.’Andinordertodothat, youhavetocovertherange.” And“coveringtherange”obviously meanstakingchances.Perhapsthere aresomeartisticdirectorswho,after a poorly-received season, would divefortheoldchestnutsdrawerin theirfilecabinetsandstartrifling through the Neil Simons and the ShirleyJonesmusicals.NotLearning. “I’mnotheresimplytodrawwhatI thinkpeoplewillbuy.I’mheretopro¬ ducetheateratahighartisticlevel.I havetoholdontomyprinciplesin ordertodothat.ThefinelineImust walkismeshingthoseprincipleswith thewantsandneedsofthecommu¬ nity.Andthatisnottosaythatmy principlesareantitheticaltothecom¬ munity’s.ButImustaskmyself,at whatpointdoesthetheaterneedto sparkcontroversy?Isitevertruly effectiveifitsimplyassuagesallthe time?AndIhonestlybelievethis community wants works that will tweakitabit.Portlandisaverycos¬ mopolitancityintermsofitsintel¬ lect;it’sveryforward-thinking.What wenowneedistomakeconnection withourcommunity.AndIthinkthat istheothermistakethatwasmade. Wedidn’tletpeopleknowwhatwe wereallabout.AllI’maskingisthat the community think about us one moretime.”

Andthetaskofgetting the community to do that rethinkingislargelyinthe handsofPortlandStageCom¬ pany’snewmarketingdirec¬ tor, Michael Gepner. Gepner, who has been with the Portland Stage Company,offandon,forthelastfive years,hasaverydeterminedplanfor making that connection with the

PortlandStagemarketingdirectorMichaelGepnerintheboxofficeontheeveofanewseason community.Thefirststepinthat planistoascertainexactlywhatthe communitythinksaboutthePSC,or ifiteventhinksoftheCompanyatall.

“We have a very generous patron whoissubsidizinganextensivemar¬ ketingsurveyoftheSouthernMaine areatogetintothecommunityand findouthow,after20years,weare perceived,”saysGepner.“Ourfeeling isthatthoseperceptionshaveseri¬ ously changed over the last 5-10 years.OneofGreg’sgreatestpriori¬ tiesistalkingtothecommunity,get¬ tingasmuchinformationaspossible. Andthat’satoughprocess.We’ve beenfacingsomeperceptionprob¬ lems. There are many people who don’tknowwhatthePSCisorwhat wedo,orevenwhereweare.”

Thesurveywilldrawfroman“arts list,”thatis,acompiledlistofiden¬ tified arts patrons—people who attend the symphony, go to the museum,andgenerallymakethearts scene.Buttherewillalsobealotof randomsampling:man-on-the-street interviews,focusgroups,andthe like.“Thissurveywillgiveustheabil¬

itytoseehowweareperceived,” assertsGepner.“Andperceptionisa fairly common problem for small regionaltheatres.We’reoftenviewed aselitistorganizations,notforthe masses.Andthat’saperceptionwe wanttochange.Weknowthateco¬ nomicsoftencomeintoplay,butwe offerprogramsthatprovidespecial ticketprices.Forexample,youcan cometoseeaPSCproductionforlit¬ erallyapennythroughthe‘PayWhat YouCan’program.Wealsoofferrush (reducedprice)ticketsbeforeperfor¬ mances.”(Caveatemptor:thesepro¬ grams apply only to specific performancesortoticketavailabili¬ ty.Still,ifyoucanfinagleit,it’sa greatdeal.)

ThechallengesfacingthePSCare notjusteconomicorperceptual,con¬ tinues Gepner. “People have more entertainmentchoicesthesedays. There’salotmoreavailableinterms ofthePortlandtheaterscenethan therewasfive,and,particularly,10 yearsago,butintermsofthestruc¬ tureoftheinstitutionshere,weare thebiggest,wehavemoremoney,we

aretheonlynationallyrecognized regionaltheatercompanynorthof Boston.Thatgivesustheabilityto bringthebestactors,directorsand designerstoPortland.Whichdoesn’t necessarilymakeitbetter,itjust makesitdifferent.We’realsooneof thefewtheatres—thereareveryfew leftinthecountry—thathastheabil¬ ity to develop and produce new Americanplays.Andthat’savery importantaspectofwhatweare,and whatwecandoandhavedone.It’s part of what those students from UNH who founded Profile Theater envisioned20yearsago,andthat’s whatwehavecontinuedtodo.AndI thinkit’simportantthatthecommu¬ nityknowsthesethings.”

roducing new plays in¬ volvestakingchances,” explainsGepner.“Thena¬ ture of new American plays has changed dra¬ maticallyoverthelast20years.The firstproductioneverdonebyProfile Theater was “Hair.” If you look through our production history, there’sagreatdealyouwillrecog¬ nize,butthere’salsolotsofthings nobodyhaseverheardof.Thestruc¬ tureofthenationaltheatersceneas a whole has changed so much. Regionaltheaterisnowwherethe new Broadway shows come from. Fromamarketingstandpoint,it’s important for the community to knowthatwearegoingtocontinue todotheseplays.Andwhathasbeen perceived, and possibly not even wrongly,thatintermsofthetypesof showsthePSChasproduced,partic¬ ularlyoverthelastfourorsoyears, isthatoverallasaseason,yearby year,therehasbeenalackofbalance inthematerial.Weareconvincedthe patrons and the community want verymuchtohavethiskindofthe¬ ater that is connected with the nationaltheaterscene,thatisdevel¬ oping new plays and playwrights, and that is continuing to grow. ...That’sariskybusiness.Youhave those plays that have gone on to havegreatrunsacrossthecountry and off-Broadway...and some of themhavediedhereonthestageat Portland.It’sallpartofthegamble. Wewanttodobiggershows;we’re

dying to do Shakespeare, but the smallestcastshowis,Ithink,13 actors.1thinkwhatpeoplehavebeen seeingthelastfewyearsisthefinan¬ cial constraints. The economy in whichwelive,theexpenseofpro¬ ducing professional theater, has impactedthetypesofshowsthatwe areabletoproduce.Andwearetak¬ ingstepstofixthat.Weareabsolute¬ lycommittedtothat.”

Andwhataboutthechallengesof holding the mantle of marketing directorinthisdayandage,when peoplearespendinglessonenter¬ tainment, when corporations are writingfewerchecks,andalsoina periodoftimewhentherearemore entertainmentoptions?Gepnerre¬ flectsamoment.“I’vebeenaround herelongenough,havingbeenin¬ volvedinboththeartisticandadmin¬ istrative end of things—I have a backgroundasaprofessionalactor andabackgroundinmarketing—that 1 have seen that because of the changingnatureofthisorganization andofouraudiencebase,weneedto reachalargermarketportionofthe

community with our message and what we’re doing. The approach needstochange.Theaudiencebase haschangedoverthelast10years. The25to40-year-oldprofessionalis thebroadestsectionofthecommu¬ nitythatisourpotentialaudience base. The tools we once used no longerreachthepeoplewewantto betalkingto.Wewentforthemon¬ eyedpeoplewhenouraudiencebase wasfirstestablished,andIsuppose thatimagehasstayedwithus.But youcannowbuyasubscriptionfor $65,whichwefeelisveryaffordable. Still,thefirstthingweneedtodois getoutintothecommunityandclear upourperceptionproblem.”

AndhowdoesGepnerperceivethe PSCisperceived?“Thatthisisa stuffyplacetocome,someplacethat appealstothe‘pipe-smoking,damp tweedset.’”Helaughs.“Well,that’s nottrue,buttheperceptionisset thatwe’renotinterestedinproduc¬ ingentertainment.We’relumpedin withotherartsorganizations.The product we produce is different, riskier.Yougotothesymphonyand

“Blowout nerfo^®®®®

you know pretty much what you’re goingtoget.Whenyouproducethe¬ ater,you’redealingwithideasandan artisticnotionofwhatthoseideas are.Weareworkingwithideashere, andthat’sdifferent,andalittlebit dangerous. Because any time you dealwithideas,you’renotgoingto be able to please everybody. And we’renotlookingtopleaseevery¬ body.Rightnowwearelookingto gettopeoplewhomayhavegivenup on us and people who have never cometothetheaterbeforeandper¬ hapsdon’tknowhowmuchfunitcan be.Goodtheatershouldstimulate, educate, provoke thought—people justdon’twanttobetoldthat’swhat we’re going to do to them—and that’sthechangeinapproach.We willcontinuetostrivetodoallthose things,remaintruetoourartistic vision,butwe’rejustnotgoingtotell youthat’swhatwe’redoing.”

Thus,thePortlandStageCompany embarksuponits20thseason,full steamaheadandwiththehopesthat Portlandiswillingtogiveitonemore chance.

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TheTheaterProject, 14SchoolStreel, Brunswick."TheElephantMan,”byBer¬ nardPomerance,willplayfromSeptem¬ ber9-26asabenefitforMerrymeeting AIDSSupportServices.Thursdaythrough Saturdaycurtainis8p.m.;Sundayis7 p.m.Alltickets$12;allproceedswill benefitMerrymeetingAIDSSupportSer¬ vices.Formoreinformation,contactdir¬ ectorBrianP.Allenat725-4955.

Mad Horse Theatre Company, 955F ForestAvenue,Portland.ArthurMiller's “All My Sons" will be presented from September23-October24."Kingfish,"by MarleneMeyer,opensNovember26.For moreinformation,call797-3338.

The Portland Players, 420 Cottage Road,SouthPortland.Featuringanopen houseonSunday,September12,from2-5 p.m.

Penobscot Theatre Company, 183 MainStreet,Bangor.FromOctober7-24, see“TheGlassMenagerie,”byTennes¬ seeWilliams.“Willi,anEveningofWil¬ dernessandSpirit,”byJohnPielmeier; and"BillyBishopGoestoWar,"byEric Peterson & John Gray, will appear in rotatingrepertoryfromNovember4-28. MarkTorresisproducingartisticdirector. Formoreinformation,calltheboxoffice at942-3333.

Grand Auditorium Productions, Main Street,Ellsworth.Thefallproductionwill by"HelloDolly!"DirectorKenStack, artisticdirectorofAcadiaRepertory Theatre.PerformancedatesareNovem¬ ber5,6,7,12,13,14.Formoreinforma¬ tion,call667-5911.

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The return to Maine involved heavysnow.Myridehadanauto¬ mobile whose heater had to be restedbecauseitdrainedthebat¬ tery,goodintheorybutthegasline froze,andsweet-naturedHeather Tapley,withherkewpiedollface andshort,practicalhair—shedid aqua ballet—two days before my arrivalmadeafoursomewithher roommate and the roommate’s boyfriend.Afterseveralgiggling mugs,jollyHeatherandthefellow with whom she’d been paired, a toothlessgiantIknewfromprepschoolfootball,foundthemselves flagrante,whichHeatherregretted, concluding it meant something criticalaboutherrelationshipwith me.

How well I remember Heather’s friendlybuttensepolitenessafter mygruelingtwenty-fourhourdri¬ ve,howIsatonthebedinthetidy back room of Angelo Murphy’s apartment, my feet aching and lumpyfromthefrozencar,dis¬ tractedbytheideaofHeather’s tongueatlooseinBobSaul’stooth¬ lessgums.

“Look, when you and Bob Saul were alone, was he wearing his wholesetofplates?”

FictionbyKennethRosen

nemorninginmid-sum¬ merIsteppedoutofthe bedroomandtheliving room floor began to shift,rapidlyascending left.Inanotherminuteitslammed intomycheek,andIrealizedfirst, that1wasonthefloor,andsecond, Ihadfallen.Iwasabletocrawl backintobedwhereIremainedfor anothertendays,andwhenableto walk again, I had a terrible

nightontheShoreRoadinCape Elizabeth, Gwendolyn Dewers wrecked Tommy Patrick’s white Corvette.Shecameoutofthehos¬ pitalafewweekslaterwithapur¬ plescaronherjaw.Ifeltstupidasa scarecrow. We weren’t speaking anymore,so1couldn’ttellherthe scardidn’tmatter,holdherinmy armsandtraceitwithmytongue. IntimeIwenttoFlorida,andcame backtoPortlandinthemiddleof headachethatlastedformonths, my hands trembled, and 1 stut¬ tered.Laterthatfall,onarainy

Shedidn'tanswer.Iagreedwith herplanthatweremainfriends while1passedthroughtown,and seeeachotherasmuchasfeasible, thoughshehadaquaballetprac¬ ticeshe’dfindoutifIwaswelcome tocomewatch.NoIcouldn’tsleep over.

winter,nottovisitGwendolyn,but HeatherTapley,aninterveninglit¬ tleromance.

I was walking down Congress Streetthenextday,ponderingmy quandary.If1tookBobSaulseri¬ ously, it meant agreeing he’d struckablowatthefoundationsof Heatherandmyemotionalcommit¬ ment. If I dismissed him, told Heathereverythingwasokay,we should snuggle and weather the storm,Iwasdeclaringmyinterest tobecynical,merelysexual.The alternative,theso-calledmiddle ground,wasamountainrangewith amuddypathandfewdiscernible

peaksabovetimberline. Ofcoursemyinterestwassexual. I’d have been happy to marry Heatherorvirtuallyanyoneforsex¬ ual.Sexualwasarainbowstraight tothefountainofmeaningandthe mountain of gold. When walking downCongressStreetIsawGwen¬ dolynDewersinanunfamiliartan raincoat,walkingstraighttowards me.Thescaralongherjawandher unmadelipswereslightlyviolet. Gwendolyndidn’tdoaquaballet, butoftenlookedasifshivering afteraswim.Shesawmeanddidn’t speak. We nodded and passed on thestreet.

Howwonderfulitwastoseeher!

Like many skinny, flat-chested women, Gwendolyn’s interest in sex was focused totally in her sub-abdomen.I’dfeltdistinctly attractedtothegirlinthetanrain¬ coat. Then I recognized Gwen, whichvalidatedmyantennae.This wasreal.Mysufferingsoflastsum¬ mer were founded on something true,onattractionandanguish deeper than possessiveness or woundedpride.Itwasluckyinthe sensethatlifehadcontinuity,and loveacoherencealignedwithfate. AlsoIhadseenherwithoutgoing topieces.Ihadnodded,shehad nodded, and my heart and stom¬ achstayedsolid.Iwalkedtothe endoftheblock,turnedaround andwalkedback.Iranintoherin nearlythesamespot,againwalking my way.

“Gwendolyn,”Isaid,“hello!” “Idon’tknowifIwanttotalkto you.”

We were standing outside the My-O-My Sandwich Shoppe and I suggestedacoffee.Itturnedout whatI’dsaidaboutGweninthe company of Tommy Patrick’s friendswasthedirectcauseofher gettingbeatupintheparkinglotat Tommy’s grandfather’s mansion the night she’d run away and wrecked Tommy’s Corvette. Her relationshipwithTomwentbackto whenshewasfourteenandhewas

twenty.Shesayssheseducedhim, butbecausehewasrichandfelt guilty,hegaveheranallowance, evenwhentheywereromantically atodds.TheGwendolynthingwas easier than the problem with Heather,callingformereapology.

Itookhernewphonenumberand weagreedtoseeeachotherthat evening.Wesaidgood-byeonthe street.TopretendIhadsomeplace togo,Istrodeoffintheopposite direction.Maybe1couldputpres¬ sureonHeatherbybusyingmyself withGwendolyn.IfIcouldgetbusy with Gwendolyn, 1 didn’t care aboutHeather.

AtthatpointIranintoBorisMar¬ tin.

“Howareyoudoing,littlebroth¬ er?”

“Okay,okay.”

“Cool,cool.”

Suchconversationsdon’tgoany¬ where,soIdecidedtoseekBoris’s adviceonHeather.Borisdidn’t hesitateandrecommendedIslap her. He said I had to assume responsibilityforwhatshedidso thatshe’dbefreetocomebackto me. 1 had my doubts. The idea didn’tclick,thepiecesofthepuzzle didn’tsuddenlyassembleintoa picture,soIwasgladwhenBoris changedthesubject.Hewantedto show me his car, a powder-blue Cadillac,purchasedtoannoythe supervisor who’d fired him at HumanServices.Iaskedifhecould givemearidetoFalmouththat nighttopickupanoldsweetheart withwhomIneededtogettogeth¬ er.Borisagreed,concurringwith mylinethatadditionaloptions potentiatedeachother,lookatDon Juan,andwithoutahitchBoris saidIshouldaskGwendolynifshe hadafriend.WhenIthoughtlessly chidedBorisaboutSylviaandthe boys,HartandEzra,Borisgravely pointedouttheanalogybetween oursituations,andhowanydateI could get him with a friend of Gwendolyn’scouldonlyvitalizehis marriageandhencetheboys’lives.

ThatnightaDecemberthawset¬ tledonPortland,withcloudyskies, meltingsnow,theall-too-familiar storefronts,andfacesoftheagitat¬ ed, aggressively maladjusted, downtowncitizens,butPortland wasanoasisofopportunityafter my months of highway work in Florida. Gwendolyn produced a girlfriendforBorissoI’dgetaride out to Falmouth. Though it was after 8 o’clock when we picked themup,thegirlshadnoteaten supper, so we treated them to cheeseburgersandfries,Borisner¬ vous,heexplainedtomeinwhis¬ pers,aboutbeingseen.Afterwards we drove around drinking ready-madesombreros,andBoris showedoffhisCadillac,thingsit did when he pushed buttons. Gwendolyn’sfriendwasanurse, Meredith Zimmerman, and she assumed Boris was married as soonasshesawhiswaistandhair¬ line.Hewasachinlesspotatowith apermanentfiveo’clockshadow.

Meanwhile Gwendolyn and I were on the backseatturninginto puppies. Her mouth wasjustasIremem¬ beredit,likeachocolatebarwith berryandmetallicundertones.I wassurewe’dsoonbenestlingin Angelo’sprivatedarkwarmedby eachother’sfur.Wehadtodrop MeredithbackinFalmouth.Boris, by then, had developed his own lineofsarcasm.

“Thanksforthecheeseburgerand tour,”saidMeredith.

“I hope your teeth don’t get caughtinyourzippernexttimeyou takealeak,”saidBoris.

“Mer,1’11talktoyoutomorrow,” saidGwendolynfirmly,andthen wehadtogetridofBoris,ominous¬ lysilentontheridebacktoPort¬ land.Gwenpraisedhiscar,and1 explainedweneededtimealone.

“What’s the matter with your friend?”BorisdemandedofGwen¬ dolyn.

“Shehastoworkearly,”Gwen¬ dolynanswered.

We slammed the heavy Cadillac doorandranawaygiggling,shout¬ inggoodnight.UpstairsIidentified myselftoAngelointhedark,sleep¬ ingonhissofasoHeatherandI could have his back room, and Gwendolyn and I took over the smallbedI’dbeenassigned.

rhingsdidn’tgosmoothly. Gwendolyn balked, then remainedpreoccupiedand evasive.Iwasconfused.

Gwendolynhadthecapac¬ ityofbecomingphysicallyhot,asif feverish,absolutelystunningtothe touch.

“What’sthematter?”Iwhispered. Shewouldn’tanswer.Finallyshe agreedtocooperatewithinlimits. Thiswasdisappointing,butone hastogetonwiththingsandget sleep.Somehow1didn’tcare.Inthe morningAngelowassurprisedand peculiarlysternseeingGwendolyn, notHeather.Theysaidhellowitha puzzling,occultreserve.1took Gwendolynovertoadeliforbreak¬ fast.Shetookabitefromapieceof toast,andsaidshewasexpectedat thehospitaltowashbodiesfor autopsies.Thehospitalwasashort walk,andshe'dgetaridehome withsomeonefromwork.

Awhilelater1sawAngeloonthe CongressStreet,morethanstern, grimandstand-offish.Wewalked towherehewasbuyingaBoston Globe.Wehadlistenedtolotsof blues records and polished off manyahalfgallonofHeartyBur¬ gundy when I was suffering my mid-summer Gwendolyn sorrows. 1 explained about Heather and BorisMartin’sadvice,whichmust havegainedagreatdealintransla¬ tion,becauseAngelodidn’tcorrect it,andhowmymoralehadrevived fromjustgettinghalfcozywith Gwendolyn.ButtalkingtoAngelo waslikeplayingapitchpipetoa tone-deafchorale.Icouldn’tget himtorespondinkey,so1asked

bluntly,whatwastheproblem?He wasadiscreetIrishmanwithalong bodyandshortlegs,darklashes andsapphireeyesinawell-freck¬ ledface.Gwendolynhadbeendat¬ ing his roommate, Norwood Pettingill,aweight-lifterfromBux¬ ton,whoIhaddismissed,utterly dismissed,forthealacritywith whichthisPettingillhadturned overhissleepingsofatoAngeloas a convenience to him and me. Gwendolyn must not have recog¬ nizedtheaddressuntilwewere upstairsinfriendPettingill’sfamil¬ iarborrowedbackbedroom.

ThismadeAngelofeelbitterand confused,jerkedaround.Myemo¬ tionsseemeddishonestandadven¬ titious,andIwaswastinghistime with gluttonous sex-mongering. Insteadofgivinguphisbedroom forPettingillorme,hewasgiving itupforGwendolynsoshecould makelovewithbothofus.Maybe hewasafraidwe’dtrytwoatatime andwherewouldthatleavehim?

Isawaparalleltomyquandary withHeather.TogetonwithAnge¬ loruledoutmirth,indifferenceor indignation,allmoreorlessequal¬ ly.Standingoutsidethenewspaper store,1triedtolookseriousand empathetic,thenclappedhimon theshoulder.

“Angelo,wedothebestwecan.” Itoldhim1hadadatewithHeather thatnight,1didn’twanttomake troubleforhimandPettingill,but he,Angelo,knewhowIfeltabout Gwendolyn.ThenIsaluted,nod¬ ded conclusively, and took off toward State Street, heading nowhereinparticular,therefore towardDeeringOaks.Theclouds partedandthesuncameout.Peo¬ plepassingincarslookedextraor¬ dinarilypurposeful.Anyplace,any time,wassusceptibletowhirlpools ofunreality.Irecalledthemiseryof walkingthesefilthystreetsinsum¬ mer,wonderinghowIcouldmake enoughmoneytoholdtheinterest ofagirl,Heatherbecauseshewas jolly,Gwendolynbecauseshewas

hot.

Aftermeltingallday,theweather changedagainthatnight.WhenI wentdownstairstoletHeatherin thedoor,shewasshiveringfrom the sudden cold. The sky was loadedwithtinystars.Inoticed Heatherwaslimping.

“It’sicy,”shelaughed.Shealways laughed.“1slippedonthesidewalk whereitgoesdownhillatBramhall Square.”

1didn’tanswer.Itseemedsexual thatherfeetweresosmallshewas alwaysfallingdown.Assoonaswe werealoneinAngelo’sbackbed¬ room, 1 slapped her across the face.Shesatdownonthebedand studiedmewithatightsmile.She spokerapidly,barelymovingher lips,sayingIbetternotdothat

yuAt U

beied, it, Like- a, dwoo-La-te- Loa- ujith beAA-y cuxct

again,nordidsheeverwanttosee meagain.I’dheard“neveragain” many times before, and Heather saiditlikeababy-sitter.Stillwear¬ ing her coat, she stood up and showedherselfoutthedoor.Ifol¬ lowedher.Iwalkedherbacktoher apartment and we stood in the cold.Itookherhand.Shedidn’t pullitaway.Noonewasnearby,so 1startedtocry.WhileweepingI mentioned I’d come all the way fromFloridatoseeher,thatI couldn’tbeartosaygood-bye.I wasleavingthedayaftertomor¬ row,Isaid,andneededtoseeher atleastonemoretime.Shetoldme she’dthinkaboutitandcallmeat Angelo’s.

1turnedawayandwalkedoutinto thenight,uphilltoCongressStreet. Theicewasimpossible.Islipped andfell,reachingthetopofthehill onmyhandsandknees.Ihadno desiretoseeGwendolyn.Mymea¬ suredresponsetohercaloricmir-

TOM'S PLACE

Rte 225 at BEAR SPRING ROAD, ROME, MAINE

Comevisitourwonderfuloldbarncrammedfullofintriguingthingsforyouandyourhomeorshop,atpricesyou'llappreciate. Listedhereisjustasampleofourcurrentselectionofqualityandunusualantiques&collectibles: FIRNITURE:

E/RLY:SheratonSwing-legCardTable;(2)PrimitiveSofaFramesw/orig.Ticking,c.1750;4Dr.PineChestinOldRed;Sm.N.Y.ShakerFoldingStand;Prim.HiredHandBed inRedWash;Ex.EarlyChild'sChair;ShakerStyleLadderbackRocker;Sm.WindsorStoolinOldRed.c.1800;ShakerStyle"Milk-Bottle"StandOAK;Stickley(Grand R;pids)LibraryTable;LarkinDesk,ref.;EarlyPoolCueRack;48”RoundOakTable;PlantationDeskw/lthrinsert(ref.);5legDropleafw/4Ivs.(refin);WindsorArmChair(refin); sn.Slant-FrontLadies’Desk;Bookshelves;(10)CanedD.R.Chairs;PressbackChrs.WALNUT:Lg.6BoardBlanketChest,SetOfNorthwindCarvings;Ex.Ref.5-legDropleaf; N7.CountryDropleaf,c.1870;High-BackHallSeat;4-drawerChest;Ex.ChippendaleStyleSofa.MAHOGANY:EmpireChairs;MusicCabinet;PanelledCedarChest. Bookcases/Shelves;(5)1920'sWindsorBowbackChairs;PosterBeds;DecoCurioCabinet;EarlyRopeLegPlantStd..PINE:FancyPanelledWardrobe;4EarlyPainted FiddiebackChairswithPlankSeats;BostonRocker;StepbackCupboards;CornerCupboard;6’DropleaffHarvestTable;SeatChrs.;'MISC.:VictorianHigh-StyleCherryCurio Cabinet;StickleyRodback&FirehouseWindsorChairs,Fayetteville,1926;H.WakefieldWickerRocker;Vclean1920'sWickerSofa;;Pr.of4ft.Deacon'sBenches;Bamboo CoinerChair;WakefieldSewingStd.;Viet.Oak/LaceDressingScreen;BambooPlanter;WonderfulAdirondackRootBenchbyAmosWinter,Kingfield,Me.,SugarloafMtn. Founder;Pr.GiltViet.BoudoirChairs,PorchRockers;Childs'chrs.;Trunks;IronBeds:LotsofgoodChairsandstands.

MRRORS

7ft.Viet.OakpierMirror;LG.WalnutShield;ChippendaleMahoganyMirror;;Lg.OgeeMirrors;EarlyWalnutMirrors.Round&Oval;num.Oak,Gilt&otherMirrors.

LIGHTING:

FuperPotteryLampBase;EarlyWroughtIronPoleLamp;Bradley&HubbardBanquetLamp,(Pr.)Brass/lronTulipLamps;ArtDecoChromeCormorantLamp;BrassExt. Lampw/EagleFinial;AmethystSatinGlassBoudoirLamp;ArtDecoCeilingFixt.w/Pr.MatchingwallLts;Hand-ptd.GlassShades;(2)EmeraldGreenCaseGlassLamps;50's Pte.IronChandelier,w/Flowers;misc.OilLamps&Lanterns;WhaleOilLamp;BrassShip'sLamp.

ARCHITECTURAL. GARDEN. ETC.:

48’Viet.GardenUrnw/Plinth;(3)PorchColumnsinGreatMustard&Red;2-3000Ft.NicelyWeatheredBarnboards;500Ft.(+-)8"Hand-HewnBeamsinSpruce&Oak;Ex. VdodenWheelbarrowinOldRed;Viet.IronGates;Viet.2-tierIronPlantStand;WroughtIronPlanters;Ex.FancyWalnutMantel:OakMantel;StainedGlass:GardenFrogs; WenderfulLg.ChineseLawnUmbrella,c.1920,HandPaintedLinen;ExpressWagon;MedicineCabinets;80pr.ShuttersinOldGreen;PedestalSinks;ClawfootTubs;Early IronStrapHinges;EarlyDoors;BirdHouses;Trellises;Sm.PonySleigh;One-HorseSleighs;WagonWheels.

COLLECTIBLES:

SurveyItemsincl.Buff&BuffTransitw/case&Tripod.BergerLevelw/case;Camerasincl.Kodak#1APocketJr.,Greenw/case:LinemarWind-upMickeyMouseonTricycle; HowdyDoodyonaPigandotherBanks:Clocksincl.SethThomas"RebeccaattheWell";ChelseaBrassShip'sClock,others;EarlyHoneywellBrassThermostaVCIock; Matchbox&HotWheelToys;A&CCopper;FranzBergmancold-paintedBronzeofArabRugMerchant&SlaveGirl;"GuttaPercha"UnionCases,CollarBoxes&otheritems; EadyBagatelle&otherGames;PocketKnives,incl.MilitaryMedals&Patches;Ex.MarxConstructionTruck;Pan-AmericanTrombone;WilliamsPinballMachine;40-50 Stevensgraphs,incl.ColumbianExpo;Postcards,incl.Blacks,Maine,Advertising;SheetMusic;LunchBoxes,incl.RoyRogers;MickeyMouseBank;Viet.IronInkwell,Heart Motif;PiercedSilverCardCase;StereoViewers&num.Cards;Doorstops;rare1893ColumbianExpoLg.CopperPlaque;Matchsafes;CelluloidTapeMeasures;U.S.& ForeignCoins&Stamps;KennethRobertsPostcard;EarlySnuffBoxes,inc.RussianCrusader;IvoryWaxSeal;WatchFobs;NumerousExpo,itemsincl.1892ColumbianExpo OakRocker,refin.;Sterling&S.Plate;CollectibleSpoons;GoldRings,incl.Diamond,etc.;Bronze&SilverMedals;BronzePlaques;Daguerreotypes,TinTypes.EarlyPhotos, GoodPaper,Catalogs,etc.;100'sofMaine,Kids&OtherBooks;Tools:

ADVERTISING:

5WoodenCut-outofMaineLobsterinGreatPaint;Lg.Pore.UnitedCigarSign;DanPatchTobaccoTin;KodakFilmTank;Over50CelluloidPocketMirrorsincl.HaskellSeed. Lewiston,Pinbacks,TapeMeasuresandotherCelluloidItems;BlackTradeCards&otherBlk.Adv.;Coca-ColaChecks;Griswolditems;Reed&BartonTipTray;num.Stock Certificates;Tins&Boxes;PorcelainSigns;CroswellBros.EggCrate,Farmington,ME.;WoodenSign-"Mother'sLunch";12'ShellSign;6'Diam.GulfSign;CokeMachines;c 1930TexacoGasPump;Bottles;LotsofPaper!

COUNTRY & PRIMITIVES:

Ei.Lg.WindmillWhirligigw/Woodcutters;SouthParisIroningBoard;Sev.ToolBoxesinoldPaint;Agatewareincl.BlueCoffeepot;MiniatureSadirons;Ex.Bail-HandledBirch Mni-Bucket,c.1860;1870IronTraveller;TobaccoBasket;num.SplintBaskets;UniversalCoffeeMill;MaineAppleBoxBrassStencils,andothers;MixingBowls;Kitchenware; TabletalkPieSafe;NumerousCrocks&Jugs;EarlyAndirons&FireplaceTools:numerousptd.Firkins,Measures,SapBuckets,etc.:Tin&Wireware;Dome-Top&otherBoxes; A:plePeelers;KnifeTrays;Brass,Copper&IronKettles,etc.;CountryStoreItems

STONEWARE. POTTERY. GLASS & CHINA: AabasterUrn;EarlyHand-BlownCruet;McCoyCookieJars;MolassesJug;MilkPitchers;IronstoneBowls,OvoidRedwareJug;Fiesta;PatternGlass;CobaltVase.

HUNTING, FISHING, SPORTS:

Ei.Groupofsm.MaineWoodcarvings,c.1950,incl.Seagull&Fish,Deer,etc.;PfleugerEverlasterCastingReel,&others;MiniatureCanoePaddles;Pr.ofSm.EarlyWooden Fopellors;StuffedPheasant;(2)WinchesterPosters;HuntingMag's;WinchesterBulletMold;EarlyIndianCreel;Decoys;GolfClubsincl.ex.WalterHagen;EarlyFishing notosandBooks;FishLures&Flies;BambooFlyRods;GamePrints.

TEXTILES AND APPAREL:

Sev.ExcellentHookedRugs;RaccoonCoat;DecoChineseRoom-Size;Quilts;White-on-.WhiteBedspreads;Orientals;BraidedRugs;ChairPads;Tapestries;Doilies; Tablecloths,etc.;RugWool.

PRINTS, PAINTINGS & FRAMES:

Am.Plummer,Lg.o/cofEchoLake:PortraitonIvoryofNapoleonicSoldier,sgnd.Lotts;Currier&Ives;FallLake/BoatScenebyW.Gillette,Wolfeboro,N.H.(fromherestate); Sev.Nuttings,incl.Interiors;GutmannInterior;SawyerPrints;DavidsonInterior;M.E.Fischerw/cofSailboats;LillianParkerw/cSeascape;Gillettew/c;HowardBealEtchingof :heJacksonHouse,Portsmouth;EarlyIndianPrints;Pr.BlendonCampbell;Pr.AudubonPrints;FrederickS.HyndVillageScene.OB;Ex.PeltonHomesteadScene;(2) RandolphPastels:w/cPortraitofYoungWomanbyPhilipHarrisGiddens;Sm.o/cofLighthouse,8x12,;C.BraleyPastel;Geo.McConnell,seascape;AsaGrantRandallpastel. 3x21,MoonlitFootbridge;MarnieLawsonPtgs.;ChandlerPastel;OC-Sailboats:Lamson;Prang;Bicknell;Orientals;Silhouttes;manyotherprints&paintings:OgeeFrames; lundredsofothergoodframes,inc.DeepWalnut,CarvedWalnut,TrampArt,GoldLeaf,Gilt,Grained,etc.

Allitemsaresubjecttopriorsale,buttherewillbehundredsoffresh-pickedadditionsbythetimeyoureadthisad.Also,ifwedon'thaveexactly what you need, we're pretty good at finding it. Very few serious buyers leave TOM'S PLACE empty handed! (P.S.We'reverydealerfriendly!)

acle,herremarkablyhotbody, haddiminishedthedesperate magicofherappeal.Atthat moment it was Heather or nothing.Besides,itwasunlike¬ lyGwendolynwouldcometake me to Falmouth or return to MurphyandPettingill’s,where apartywasscheduledforthat evening.AsIwalkedtoAnge¬ lo’shouseIrealizedthatGwen would soon be offering ManMountainPettingillthepuzzle Heather had offered me. How wouldhesolveit,Iwondered? Explainittoherwithoutslap¬ ping,1wassure,andtellherthe decisionwashers. Pettingillwasatthepartyand Istudiedhimcarefully.Hewas lean and bulged everywhere, extremelyhandsome.Iturned onthecharm,butheavoided myacquaintance.Heleftthe partyatnine,claiminghewas meetingafriendattheairport, but1believedhewasheading for Falmouth and Gwendolyn Dewers.Ihadnointerestinver¬ ifying this. I telephoned Heather, who granted me a farewellinterviewinherdown¬ stairshallway.Iapologized, andshedidn’tsaymuch.1got hertolaugh,butwhenItold her1stilllovedher,sheturned more thin-lipped than ever. WhenIgotupthenervetosay good-bye,sheshookmyhand, Ikissedhercheek,andshetold meshewassureI’dbeasuc¬ cesssomeday.MyridetoFlori¬ dahadleftwithoutme,soI borrowed money from Angelo andtookaGreyhoundbackto Miami. After mind-numbing layoversandtransfers,Idisem¬ barked under palm trees and carriedmyduffelbagbackto myhotel.Ipaidaheadbythe month, and in my room I played my TV without sound, soI’dhavecompany,butalso time to think. ■

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