Portland Monthly Magazine April 1994 by portlandmonthlymagazine

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Weaving solid gold Turk’s Head jewelry dawned on me when I saw my son’s nylon string bracelet of the same design. Perfecting the idea, including drawingourownwiretothenecessaryspecifications,wasalongandinvolvedprocess,andbecameasuccessonlyafteraperiodofrefinement.This veryolddesigndatesbacktoillustrationsbyLeonardodaVind,andIhavefoundcarvingsinmanyforms,includingwood,ivoryandstone,butto thebestofmyknowledge,wewerethefirsttoachievethisapparentendlessweaveinsolidgold.Alljewelryisindividuallywoven,thereforenotwo are exactly the same. ■ ta » Mk >sk hr isk

Single Strand Ring $200. $250. Single Strand Earrings $300. $360. Single Strand Bracelet $750. $900. Two Strand Ring $450. $550. Two Strand Earrings $570. $680. Two Strand Bracelet $1475., $1775. Three Strand Ring $550. $650. Three Strand Earrings(not shown) $670. $800. Three Strand Bracelet $2010. $2425., Four Strand Ring $650.

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Hewakesupat5:15a.m.inhis third-floorMiddleStreetapartment withhissecretsecure.

Aquietman,hehasn'ttoldthe childrenheteachesaboutthedeli¬ cateoccupationalconditionhecon¬ tractedlastSeptember.

WithClarkKentpurposivenesshe packslittlethingsinasackfor lunch: salad, turkey sandwich, soup...crackers.Nexthejumpsinto aredChevyLumina,shiftinglanes andarrivinginLewistonintimeto teachhisfirst-gradeclass.

Allthroughtheday,hekeepsmov¬ ing,moving.“Themomentyoustop movingisthemomentyouceaseto exist,”hesays.

He weighs 125 pounds, has dark goodlooksandastrongbody.“I havetodrinkwaterallday,”hesays ofhisdelicatecondition.“Ilosealot ofwaterweightatnight.”

AdamBerklookslikeasharpened photoreductionoftheboxerJoey Gamache. At 28, he carries his secretwell,worksoutthreetimesa week at the Portland Regency HealthClub.APittsburghnative,he was a communications major at

BostonUniversitybeforemovingto Mainein1990andworkingatChan¬ nel6asaproductionassistantfor two years before earning his teacher'scertificateatUSM.

“Oncesomeonespilledcocoaall overme,”hesaysofhisdelicate condition.“Icouldn'tfeelanything atfirst,”hesays,“andthenIcould feelthecocoaburningmyarmand hand,filteringallthewaytothe skin.Peopleforgetthatthere's someone alive in there. Another time,abunchoffratguysgotreal excitedandstartedjumpingupand down around me, slapping me on theback.IplayedRhetttheBoston Universityterrierforthreeyears.I modelledhispersonalityafterRhett Butler,thegentlemanscoundrel. The gentleman who trained me to beRhettoverthreeyearswasareal professional who had worked for yearswithDisneyonIce.”

DrivingbacktoPortland,heeatsa saladbeforegoingtohisnightjob, whereheearns$25agameforbeing extraordinarilykindtochildrenand running up thousands of stairs, breathlessstairsinbrilliantgreen feathers.Hegoesberserkwithkind¬ ness.Therinklightsup.Hisfriend KerryClarkpopshimontheback with a hockey stick during the anthem,andCrackers,officialmas¬ cotforthePortlandPiratesHockey Club, skates into the night. B

GettingBetter

Yourmagazineissomuchbetter than the Boston magazine! That oneisfilledwithchi-chiyuppie stuff.Youhavegreatfictionand excellentfeatures!

MyfavoriteissueistheWinter 1990one,withthe“LettersHome” byWendellSargent.Ilovethat beautifulcoverphotoofMr.Sar¬ gentinhisB-17.Bringsbackmem¬ ories.Thanks!

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JohnCalvinStevens

Thankyouforthegreatarticle (“LostHeiresses,”astoryoftwo homesdesignedbyarchitectJohn Calvin Stevens, February/March 1994)ontheJamesP.Lewishouse at129PittStreet.Whatasurprise!

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LETTERS

NancyO'Malley

IlikedthestorybyNancyO'Mal¬ ley(“TheLeopard&TheLunatic,”

February/March1994).

RobertSkoglund The Humble Farmer St.George

P.S.I'mgladtoseeyougot intotheChildren'sMuseum (“Camera Obscura,” Febru¬ ary/March 1994). Are they lettingunescortedkidsin yet?

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JaneBell Hopeyou'llrunmoreofher observations. Warmregards.

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PORTLAND

Colin Sargent Founding Editor & Publisher

Nancy Sargent Ari Director

Cheryl Casey Publisher'sAssistant

John Gosselin Advertising

Beth Drugach Advertising

Katie Moran Advertising

Mamie Stevenson Advertising

Johanna Hanaburgh Copy Editor

Kevin LeDuc Photographer Francis DiFalco Photographer

Colin S. Sargent Production Assistant

This magazine is printed on Maine-made paper produced by Champion International. Bucksport. Maine. Laser Cover Separations and image assembly by Graphic Color Service. (800) 6607714. Linotronic output by G&G Laser Typesetting. 774-7338.

Portland Monthly Magazine is published by Sargent Publishing. Inc., 578 Congress Street. Portland. ME 04101. All correspondence should be addressed to 578 Congress Street. Portland. ME 04101.

Advertising Office: 578 Congress Street. Portland. ME 04101 (207) 775-4339.

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Newsstand Cover Date: April 1994. published March 1994. Vol. 9, No. 2. copyright 1994. PORTLAND Monthly Magazine is mailed at third-class mail rates in Portland. ME 04101 (ISSN: 0887-5340). Opinions expressed in articles are those of authors and do not represent editorial portions of PORTLAND Monthly Magazine. Responsible only for that portion of any advertisement which is printed incorrectly, and as compensation we will run a correction in the following issue. Nothing in this issue may be reprinted in whole or in part without written permission from the publishers. Submissions welcome, but we take no responsibility for unsolicited materials.

PORTLAND Monthly Magazine is published 10 times annually by Sargent Publishing. Inc., 578 Congress Street. Portland, with newsstand cover dates of Winterguide, Feb./March. April. May. Summerguide. July/Aug., September. October. November, and December.

ToSubscribe Complete this lorm and send check for $20 (1-year). $32 (2 years),or$40(3years),plusS6yeariloutsideU.S., to: Subscriptions. Portland. "Maine’s City Magazine." 578 Congress Si.. Portland. ME 04101.

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■ GAZETTE ■ Maine

“Ifyouwanttoknowwhathap¬ penedahundredyearsago,just askme,”says93-year-oldEliza¬ bethRingfrombehindthedeskof her comfortable, book-jumbled apartmentatPortland’s75State Street.

Thestatement,whichcomesso naturallytoherlips,ispartlyjest attheexpenseofherage,butalso reflectiveofMissRing’shaving studied,taught,andwrittenabout Mainehistorylongerthananyone else.Mostpeoplehaveonlyone career—shehashadfourorfive, includinginstructorofhistoryat theUniversityofMaine;teacherat fourhighschools,includingSouth PortlandandDeeringinPortland; researcheditorfortheDepres¬ sion-eraHistoricalRecordsSur¬ vey;actingdirectoroftheMaine HistoricalSociety;anddistin¬ guishedauthor,bibliographer, andbook-reviewer.Shealsofound timetoserveasco-chairmanof the Maine Equal Pay for Equal Workbill;executrixoftheestate ofhistorianFannieHardyEckstorm(1865-1946);afounderof what became Greater Portland Landmarks,Inc.,andamemberof numerousorganizations.Ashort list of her students includes award-winningnovelistE.Annie Proulx;notedarchitecturalhistori¬ ananddirectoroftheMaineHis¬ toricPreservationCommission,

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FortheFIRSTeverinMainewitha PIONEER Laser Karaoke/Video Jukebox 200 disc LCV 800 AUTO¬ CHANGER and SHARP VISION PROJECTION. WatchMTVvideosandsingyourfavoriteKaraokehitsat TOONZ PUB/RAMADA, alongwith NTN, theUltimatein InteractiveTelevision. Featuring: TRIVIA - SPORTS PLAY - CONTESTS and MORE "Intwomonthsit willallbepaidfor.” Mgr.P.P.

EarleG.Shettleworth,Jr.;C.M.P. presidentDavidFlannagan;artcrit¬ icMargotMcWilliams;andPort¬ land mayors Linda Abromson and TomAllen.

otsurprisingly,Elizabeth Ring’srootsaredeeply entwinedinthestate’s past.Herfather,EdgarE. Ring,wasbornin1849—

GAZETTE

field”or“Dick,”wasthesubjectof Chase’sdelightful1929essay,“The GoldenAsse—ATribute.”Elizabeth becameafootnotetoChase’stale of Maine childhood when her brotherRayrodethedonkeyfrom the Dunn barn to his house. Becausehewastired,Raydecided toplantlittleElizabethinthesad¬ dleandpointthedonkeyinthe

the tall, handsome young woman returnedforherM.A.,becoming oneofthefirsttrainedprofession¬ alsinthefieldoflocalhistory.In thelate1920s,shetaughthigh school in New Hampshire and RhodeIslandandtravelledabroad to attend summer session at OxfordUniversity.In1930-1931, shewasaFellowinEconomicsand theyearoftheCalifornia Gold Rush—in a lumber campontheWestBranch ofthePenobscot;grewup inOrono;witnessedthe driving of the Golden Spike at Promontory Point, Utah, in 1869; servedasMaineForestry Commissionerfrom19011910;andwasoneofthe fewindividualstoescape ridiculeinWilliamR.Pat¬ tangall’s1924lampoonof down-eastpolitics, The Meddybemps Letters. Elizabeth’smother,Lau¬ raR.Andrews,wasborn inWestRockportin1859; graduated from Castine NormalSchoolin1880,i taught school in Orono andthewildwesttownof Pueblo, Colorado and returnedtowedlumber¬ manEdgarRingin1895.

TheRingfamilyinclud¬ ed children Raymond, Arthur,Ernest,andEliza¬ beth, who was born in 1902.Mrs.RingwasastaunchVic¬ torian mother who chose her daughter’sfriendsfrom“thebetter families”oftheUniversitytown. TheRings,andtheirDunncousins, wereinvolvedintheworkingsof theschool,andfromanearlytime Elizabethgatheredstoriesofpro¬ fessorsandpastpresidents. Elizabethhadfunaswell.When MaryEllenChaseofBlueHillwent to college, her subsequently famousdonkeyandcartpassedto theRingandDunnchildren.The animal,knownas“RichardMans-

rightdirection.“RichardMansfield” alwaysmovedmorerapidlyonthe returntrip,buthispacewassud¬ denlyacceleratedbylocalboys throwingsticks.Hangingonfor dearlife,Elizabethcrossedtownin ablurshehasneverquiteforgot¬ ten.

It was almost pre-ordained thatElizabethwouldenter theUniversity,thoughfewin herfamilycouldhaveimag¬ inedhowdeeplyinvolvedin Mainehistoryshewouldbecome. Aftergraduatingin1923withaBA,

PoliticsatBrynMawrandrecipient oftheCoeResearchFundGrant.In theUniversityofMainehistory Department,shewascloselyasso¬ ciatedwithDeanCarolineColvin, and in 1933 Ring published her firstbook, TheProgressiveMove¬ mentof1912andtheThird-Party Movementof1924inMaine. In1938 shetaughtoneofthefirstcourses inMainehistory.Bynowshewas focusedonfrontierhistory,espe¬ ciallytheroleofMaineinthepeo¬ pling and development of North America.Tiringofinter-departmen-

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taisquabbles,shetooktheofferto headtheHistoricalRecordsSur¬ veyinPortland,aswellasacash bonusfromOrono. Elizabethandhermothermoved toPortland,wherethehistorian oversawandhelpedwriteanum¬ berofpublicationsbasedonthe examinationsofscatteredtown records. Ring’s monumental three-volume ReferenceListof ManuscriptsRelatingtotheHistory ofMaine, publishedbetween1938 and1941,stillloomslargein scholarship. She also became muchinvolvedintheMaineHis¬ toricalSociety,and,throughits long-time president Walter G. Davis,wasabletospendsummers in Limington working on the McArthurfamilyletters.Shealso taughtschoolatSouthPortland andfrom1944to1969becameone ofthemostmemorableteachers atPortland’sDeeringHigh.Earle Shettleworthrecallsheras“afullfledgedscholar”withaunique ability“tobringsubjectmatterto life and to show how national trendsevolvedfromlocalevents andviceversa.Herclassroomwas anenrichingexperience,normally reservedfortheUniversityor graduateschool.”

Andthe‘wildly’talent¬ ed E. Annie Proulx, celebratedthisyear for her adventurous life as well as her NationalBookAward-winningnov¬ el, TheShippingNews, hascon¬ spicuously ranked Ring as a woman ahead of her time, “the only(instructor)thatstandsout in my mind...one of the most extraordinaryteachers”shehas encountered, “a single woman devotedtothingsofthemind.”

Alwaysthestudent,MissRing tooksabbaticalstoUniversityof California,Berkeley,andtothe NationalArchivesseekingdocu¬ mentationabouttheinfluenceof 19th century Mainers on the south,mid-west,andfar-west.She

■ GAZETTE ■

alsowrotethe MythofaOneParty State (1966&1968), Aidstothe TeachingofMaineinthePublic Schools (1969),andscoresofarti¬ clesandreviews.Ringnotony studiedhistory,shehelpedmake it.FellowDeeringteacherBertha Gulliver says that “Elizabeth Ring’sgreatestgifttotheteachers ofmainewasherpushingofthe EqualPayforEqualWorkbill, whichclearedtheMaineHouseof Representativesin1951.”Only thereafterwerefemaleteachers paidthesameastheirmalecol¬ leagues.

ElizabethRing’sretire¬ ment from Deering High Schoolin1969meantshe couldpursueherinterest inhistoryfulltime.In 1973 she compiled MaineBibli¬ ographies:ABibliographicalGuide fortheMaineHistoricalSociety and continuedfrequentbookreview¬ ingassignments.Evenmoresignif¬ icantlyshecontinuedtoresearch, write,andrefinehergreatwork-inprogress, MaineintheMakingof theNation,1783-1870. This is whereIcameinasoccasionaledi¬ tor,sounding-board,andamanu¬ ensis.Itisadauntingprojectthat could only have emerged from one so thoroughly grounded in bothlocalandnationaldevelop¬ ments. She opens with Maine towns,institutions,andindividu¬ alsinthedaysbeforestatehood andfollowstheirinfluenceacross thecontinent.Asmuchaspossi¬ ble,theauthorusestheactual words of Maine sojourners to expressthehopesandthoughts thatdrovetheera.Onesection dealswithMainepoliticiansin Washington, another with the GoldRushandexpansion.

TTfElizabethRinghasafaultas awriteritisherconstant reading and re-reading of sources old and new. She ■Ihastheactivemindofastu¬ dent,alwaysquestioningideas ratherthanputtingthemtopage.

MichaelWaterman

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However,in1992,apartofthe study was published as The McArthursofLimington,Maine (MusePress,Portland,$15.95/$19 bymail).Basedonthecorrespon¬ denceofaremarkablyeducated andmobileMainefamily,itstands onitsownasabookandsuggests therichnessoftheoverallstudy. Slowly,butquitesurely,theequal¬ lyremarkableMissRingisexpand¬ ingourunderstandingoftheState anditscomplexroleinthebuild¬ ing of the United States. We remain in her debt. ■

-ByWilliamDavidBarry

Portrait Locate J

LaserG&GTypesetting

Portlandessayist,critic,and poetNathanielParkerWillis(18061867),anemployerandmentorof Edgar Allen Poe who ushered “The Raven” into publication, turneduptheotherday. Hisportrait,thatis.

PaintedbyFrancisAlexanderin 1828,theshadowyWillisappears tousnowashedidtohisliterary contemporaries,“jauntilydressed and wearing, according to the fashionoftheday,alargebeaver hat.”

Ayearaftertheportrait wastaken,Williswas to found and edit AmericanMonthly in Boston from 18291831.Forthenextfiveyears,he traveledthroughoutEuropeasa Continuedonpage39

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Weknowwhatmakesagreat resort.Somethingforeveryonein thefamily.Anytimeofyear.

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swimmingpool withwhirlpool spa.Complete exerciseandfit¬ ness room. An _ indoor/outdoor poolsidecafefora refreshingdrinkorquick” snack.Andanoceanfront restaurant,withbeachsidedeck, foranythingfromatallcooloneto anhonest-to-goodnessDownEast lobsterandclambake.

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FarEast

StoryByJohnLovell,PhotosByKevinLeDuc

Being an Asian immigrant in businessforyourselfinPort¬ landisbeingamemberofa ratherspecialclub.Itisalittle likeattendingameetingofa mountaineering club atop Mount Everest:Ifyoushowup,you’rea member.Maineisaboutasfaraway fromKoreaorJapanorVietnamasit ispossibletoget.Thosewhomakeit tendtobetalented,industriousand determined.Butonthesurface—in their shops and restaurants—you

mightnotknowthat.Socomeona shorttourwithusofinteresting placestoescapethecold,andthe interestingpeoplewhorunthem.

SunOrientalMarket

IpBoonParkspendssomeofthe firstfewhoursofhisfortiethbirth¬ dayonarecentweekendpushinga carpetsweeperaroundhisCongress Streetfoodstore,theSunOriental Market.Businesshasnotbeenespe¬ ciallygood,butParkischeerful.He

gripsthehandleofthecarpetsweep¬ erandimaginesitistheAmerican Dream,firmlyinhisgrasp.Butit isn’t,notyet.Hehasitinsight, though.Ifhestretcheshishandsout infrontofhimhecanalmosttouchit. Heknowsit’sthere.He’llreachit soon.

Butfirstheneedstodrumupmore customers,andheneedstofinda waytocutdownontheshoplifting. Parkalreadyhasastrongclientele amongthePortlandarea’sKoreans,

Ip Boon Park at Sun Oriental Market

ThinkTwice.

Everyguestgetsabig,two-roomsuitewithaprivatebedroom andseparatelivingroomwithasofabed.It’sTwicetheRoom. TwiceTheComfort.TwicetheValue.OnlyatEmbassySuites.

A Dashing Escape I

n 1979, when communist gunfire had rippedintoThanh’snext-to-lastboat,he dove overboard and eventually was able to swim back ashore. There had been calmer defeats, too, when a boat would runoutoffuel,orwaterandfood.Thegoal was always to reach the open ocean and then get lucky enough to be spotted by a humanitarian crew member of a larger ves¬ sel.

Notallofthecrewsoflargervesselswere humanitarian. Off the coast of Thailand, some were pirates. One pirate ship found themthere.“Whenourpilotsawthatship,he triedtorun,"Thanhrecalls.“Isaid‘Gotosee them.Theywillletusgo.Ifyoutrytorun away,theywillcatchus.’”Hechuckleslightly at the distant memory. Thanh’s theory was that“Ifyouaren’tscaredofthem,theydon’t attack;theythinkyouhavesomething,some weapon, maybe.” The bluff worked. The piratevesselsailedon.

Japanese,andothersofOrientalori¬ ginordescent.Therice,thedried baitfish,almosteverythinginhis marketexceptsomeofhisfreshveg¬ etablesandthekimchi(whichhis wifemakes)isimportedfromtheOri¬ ent,andtheSunOrientalMarketis the largest of its kind north of Boston.Whatheneeds,heissaying, ismorenative-bornAmericancus¬ tomers.

Park had not planned to be an American entrepreneur. He had plannedtobeanavalarchitect.His wifeandpartner,WonBaePark,had

tai.ButPark’sBIWjobsoondisap¬ peared.Hetookcoursestoimprove hisEnglish,andheenrolledatSouth¬ ern Maine Technical College to becomeanautomobiletechnician.“I lovecars,”hesays,“soIthoughtI wantedtoownagarageandworkby myself.”

the market. He doesn’tregret the plannedtobeanurse.InSeoul,that’s whattheyhadgonetocollegefor.It wasafteroneoftheirtwochildren wasdiagnosedwithsugardiabetes that they thought about America. Specifically,aboutChildren’sHospi¬ talinBoston.Parkandhisfamily foundasponsor,begantheemigra¬ tionprocess,andgaveuphisjob withHyundaiShipbuilding.Hisimmi¬ grationsponsorwasinMaine,and histentativejobwasatBathIron Works.Heandhiswifearrivedeight yearsago,andshefoundworkasa nurse’saideatBathMemorialHospi-

utthreeandahalfyearsago, ataboutthesametimethat ParkwasfinishinghisSMTC education,theSunOriental Marketwasputupforsale. The money he had been saving to startagarageheusedinsteadtobuy

choice, but the market, he says betweencustomersonthisbirthday morning,isanunendingseriesof headaches.“Therentishigh,”he says.“Andthere’sSocialSecurity, healthinsurance,abusinesscar, electricity,propertytaxes,thepark¬ ingshortage,notenoughOriental peoplelivingaroundPortland,not enough American customers. And theshoplifting.Wefindsomething missingeverymorning.Itistherea¬ son I cannot smile at every cus¬ tomer.”

ButParksmileseasilytocustomers onthisfortiethbirthday.Theygive substancetohisvisionofasecond storesomewhereinnorthernMaine, perhaps Bangor, and the gradual establishmentof“anOrientalmini¬ mallhereonCongressStreet,with thegrocerystoreandagiftshopand arestaurant....ifIamverylucky...a nice,great,Orientalmini-mall.Maybe itisjustadream,”hesays,setting asidethecarpetsweeper.“MyAmer¬ icanDream.”

Nil'sAsianMarket &Hu’sRestaurant

NuCarpentercametoAmericathe way many other young Asian women did,withanAmericanhusband.He’d beenasergeantfirstclassinthe Army,andhetookherfromherjob managinganArmymesshallseven¬ tymilesoutsidewhatisnowHoChi MinhCitytoamilitaryinstallationin Massachusetts.Hesufferedafatal heartattacktherein1975,andin time the new widow came to Port¬ landtovisitagirlfriend.Shemeta manhere,alsoavisitor,thesonofa French father and a Vietnamese mother.

Thatwas15yearsago.NuCar¬ penter and the man she met here,MichelBocal,havebeen togethereversince,asbusi¬ ness partners and then as parentsofElizabelle,asix-year-old first-graderwhoiskeepinghermoth¬ ercompanyinNu’sAsianMarketon Washington Avenue on a recent afternoon. _

Itisasmallmarket,muchsmaller thantheroomySunOrientalMarket on Congress Street, and shelves crammedwithcanned,bottled,and driedfoodstuffscrowditstwonar¬ rowaislesfromfloortoceiling.Until abouttwoyearsagoitwastwiceas big,butNuandMichelconvertedthe otherhalfofthebuildingintoaViet¬ namese restaurant that quickly earnedaglowing,four-starreview fromtheMaineSundayTelegram. “Itmaynotbeinthetoniestpartof town,”thereviewbegins,“butNu’s surpassesmany,farmorerenowned restaurants.”Sheisveryproudof that,andsoreprintsofthereview andanewspaperfeatureaboutNu’s Marketappearbeneaththeglasssur¬

facesoftherestauranttables.The restauranthasbeenclosedforsev¬ eral weeks, though, while Michel slowlyrecuperatesfrominjuriessuf¬ feredinafallfromthetwo-story building’sroof.

Nru,forty-eight,barelyfivefeet tall,managesthemarketon herowntostaycurrentwith businessbillsandMichel’s medical expenses; already shehaspaidhiswaytoabusiness degreeattheUniversityofSouthern

Maine,andlastJune,realizingthat timeismorepreciousthanmoney, shespentasmallhoardofbothto visitrelativesinVietnamforthefirst timeintwenty-twoyears.“Itwasdif¬ ferent,”shesays.“Nomorewar.You don’thearthegunsnow.”Sheistoo busy,thesedays,tothinkoftenof thoseyears.Alreadythismorning shehashauledinfromthesidewalk, oneortwoatatime,astackoftenpoundsacksofriceastallassheis. ButalthoughNuisannoyedthat

fessionalheart the delivery truck driver never bringsthericeindoorsforher,sheis fortunatethatitisdeliveredatall.It comes once a month from an importerinMaryland.Toeliminate someshippingcosts,sheregularly drivesherpickuptrucktoaturnpike exiton295or495halfwaybetween PortlandandNewYorktomeetand unloadaNewYorkimporter’struck. Andonceortwiceaweekshehits theroadtoBostonforsmalleritems. Cooking,though,iswhereherpro¬

NuCarpenter is.“Iwillreopenthe selves.

restaurantwhenMichelfeelsbetter,” shesays.Youwouldnotknow,look¬ ingatthediningroom,thatNu’s Restaurant has been closed for a while.Allofthetablesareset; nowhereisthereaspeckofdust.Nu straightensanapkinasshesteps pastachair.“Ihavealotofregular customers,” she says. “Americans andmypeople.Theycallalot.”

Fornow,sheinvitesthemtocome intothemarketandcookforthem-

SaigonThinhThanh VietnameseRestaurant

On upper Congress Street a few doors away from the Sun Oriental MarketisNu’schiefrestaurantcom¬ petitor, a slim, boyish man who learned to speak English—and to cookVietnamesefood—onlyafterhe arrivedinAmerica.Despitethesuc¬ cessofhisrestaurant,though,Thinh Thanh’sgreaterachievementwasin gettinghere.

HeleftVietnambyboatin1980, whenhewastwentyyearsold.Itwas hisseventhdeparture,andthefirst successfulone.“Sixtimesbefore,we wentoutontotheocean.Sometimes storm. Sometimes communists caughtus.Theyshootboat.” Itwasneveralargeboat.Seated atoneofthetablesofhisSaigon ThinhThanhVietnameseRestau¬ rant,Thanhgesturedtoindicate dimensionsconsiderablyshorter thanthediningroom’sapproximate¬ lythirty-footlength.In1979,when communistgunfirehadrippedinto Thanh’snext-to-lastboat,hedove overboardandeventuallywasable to swim back ashore. There had been calmer defeats, too, when a boatwouldrunoutoffuel,orwater and food. The goal was always to reachtheopenoceanandthenget lucky enough to be spotted by a humanitariancrewmemberofalarg¬ ervessel.

Netallofthecrewsoflargervessels werehumanitarian.Offthecoastof Thailand, some were pirates. One pirateshipfoundthemthere.“When ourpilotsawthatship,hetriedto run,”Thanhrecalls.“Isaid‘Gotosee them.Theywillletusgo.Ifyoutryto runaway,theywillcatchus.’”He chuckleslightlyatthedistantmemo¬ ry.Thanh’stheorywasthat“Ifyou aren’tscaredofthem,theydon’t attack;theythinkyouhavesome¬ thing, some weapon, maybe.” The bluffworked.Thepiratevesselsailed on.

Thanhandhisfriendsweredrifting ontheopenoceanwithoutwaterand food for only two days when they caught the attention of a German freighter and were taken aboard.

Thanh’s friends went to Germany; ThanhgotofftheshipinSingapore. Fromthereanairplanebroughthim toAmerica.Hehadadestination: Guilford, Maine, where his older brotherhadahomeandajobina textilemill.Soon,Thanhhadonetoo. He worked at night and went to schoolduringtheday,learningEng¬ lish.Heknewthenwhathetellspeo¬ plenow:“Youhavetothinkabout yourfuture.Youhavetolearnmore everyday.Youcan’tstop.”

riends—fellow Vietnamese who had fled the communist regimesoonerthanThanhwas ableto—hadsettledinother parts of America and the world,andsomeofthemhadopened restaurants. In Missouri, and in FranceandBelgium,hesays,they taught him how to cook. “They taughtmetherestaurantbusiness.I havebeenverylucky.”Fouryears ago,hetookhisknowledgeandhis savingsandplungedintobusiness

forhimself.Withthehelpofhis brother,bythenemployedatBath Iron Works, Thanh spent three monthscleaningandrenovatingthe spacewherehisrestauranthasnow delighteddinersforfourfullyears. He will tell you these things if youaskhim,butmostcus¬ tomers don’t. Thanh does not look like someone who haslivedhislife.Youmight thinkheisawaiterinthisrestaurant, andindeed,hewillbegladtogreet you.“Ilovetocomeoutandtalkto the customers, how they like my cooking,”hesays.“Iliketomakea newdishwhichcustomersenjoy.” Sometimes,forachangeofpace andsomefreshairaftermanyhours inhiskitchen,Thanhgoesforawalk along Portland’s waterfront. He looksoutattheAtlantic.Itiscold andgray,notlikethePacific,butit brings a flood of memories none¬ theless.Andevenonawarmday, Thanh shivers.

Discover$500Savings. Here’sanoutstandingvalue:upto$500 •worthofspecialaccessoriesfreewhenyoubuyBrookhaven.It’s I I a truly well-built kitchen, backed by a full 10-year warranty | |andofferedinawideselectionofstylesandfinishes.Askusfor| ।details.Butdon’twait:thisoffer nrVA/"\lZT I M 7T"kI I expires5/31/94. DKS-AJ1\H/V

ThePassionofWalterPiston

By Mark Rohr

oryears,musicianshavecon¬ sideredMainenativeWalter Pistontohavebeenoneofour most important pedagogues; unfortunately,that’showwe havebeentreatinghismusicaswell. Countlessperformancesandrecord-

ingsofhisworkshavebeenblood¬ less and terminally polite, all comfortably wrapped up in tweed— elbowpatchesandall.Nowthatthe centennialofhisbirthisuponus, manyaretakinganewlookatPis¬ ton’s music. And some are seeing

beyond the dry-as-dust image and findingthefreshness,vitality—and yes, passion—that was there all along.

Tobesure,Pistonlivedmostofhis lifeinacademia.Aftermovingto Bostonwithhisfamilyheattended

theMechanicalArtsHighSchooland the Massachusetts Normal Art School in hopes of becoming a painter.Alongthewayhestudiedthe violinandpiano,performingwith dancebandsandtheaterorchestras. Aftergraduationhecontinuedhis music lessons until World War I intervened.Afterthewar,hedecided topursuemusicasacareer.

In1920PistonenteredHarvardUni¬ versityasamusicmajor.Hegraduat¬ ed summacumlaude andreceiveda John Knowles Paine Fellowship, which allowed him to spend two yearsinParisasapupilofPaul Dukas and Nadia Boulenger. Upon hisreturntoAmericahejoinedthe Harvardfaculty,whereheremained untilheretiredasProfessorEmeritus in1960.Pistonliterally“wrotethe book” on harmony, counterpoint, andorchestration;histextsonthese subjectsandothersstillinhabitcon¬ servatorycurriculatoday.Amonghis composition students were Irving Fine,ElliotCarter,andLeonardBern¬ stein.

Piston’smusiccametotheatten¬ tionofBostonSymphonyconductor Serge Roussevitzky, who champi¬ oned the composer’s work. Thus beganacareer-longrelationshipwith theorchestraencompassingseveral commissionsandelevenpremieres.

The composer amassed many awards and honors throughout his longcareer,includingaGuggenheim Fellowship,twoNewYorkMusicCrit¬ ic’s Circle Awards, two Pulitzer Prizes,andeighthonorarydoctor¬ ates.InhislastyearsPistonresided inBelmont,Massachusetts,wherehe diedin1976.

alterPistonwasamember ofthatbrightyounggener¬ ation of American com¬ posersthatincludedAaron Copland, William Schu¬ man,SamuelBarber,VirgilThomp¬ son,andothers.Atonetimeitwas expected by some that these men would constitute an “American School”ofcomposition,butitwas nottobe.Despitethehighqualityof theirwork,theyhadsurprisinglylit¬ tleinfluence.Thenextgenerationof Americancomposersrejectedtheir conservatism and instead looked moretowardstheVienneseserialists

forinspiration;ultimatelytheregrew notanAmericanstylebutaninterna¬ tionalone.Sincethen,bothmusi¬ cians and audiences have become furtherandfurtherdistancedfrom contemporary composition, while lessandlessofitisplayed.Itisno surprise,perhaps,thattodaythereis amini-revivalofinterestinPiston andhisgeneration.

neaspectoftheconser¬ vatismthatmadePiston passeinhisownlifetime seems less egregious today:afondnessforthe oldformssuchastheserenade.In themiddleagestheserenademeant atypeoflovesong.ByMozart’stime, itcametomeanaformoflightinstru¬ mentalmusicmeantforeveningper¬ formance in the open air. The serenadewassimilarinconstruction to the divertimento (with both descendedfromtheBaroque suite), consistingofalargenumberofmove¬ mentsincludingfanfares,marches, minuets,anda nottumo ortwo.Inhis SerenataforOrchestra of1956Piston usedtheformashisstructuralrefer¬ ence.

To dwell on what the form once was,however,istomissthepoint: the Serenata isanythingbutlight¬ weightorserene.Pistonisnotoutto re-composeeighteenthcentrymusic; theoverallformoftheserenadeand the structures of the movements themselves are merely points of departure.Thearchitectureofmusic givesitanunderlyingcontinuitythat reinforcesthemusicalpointbeing made.Piston’smusicismuchmore jarring and extroverted than you wouldexpectfromaworkdesigned foreasylistening.Inhishands,the serenade becomes something greaterthanasuite,yetstillsome¬ thinglessthanasymphony.

The slow middle movement is the work’scenterofgravity.Itbeginsin anunsettled,other-worldlyspace. The opening ascending melody reaches for something but never quitegraspsit.Evenasmelodiclines reachlogicalpointsofrepose,Piston subvertsthemwithharmoniesthat willnotletthemrest.Themelody becomes more and more agitated butcannotbreakfreeofitsharmonic bindings.Thefeelingevokedisthat

ofapainfulsearchforananswernot found.

In contrast, the vigorous outer movements are perpetual-motion driving machines. Piston lays an almostBaroquecontrapuntaltexture overtheframeworkofClassicalform. Themusicisaboutmovement;each ofthesetwopieceshasacompelling rhythmicdrive.Youwillknowyou arehearingagoodperformanceifit makesyouitchingtoleaveyourchair andjoininonthefun.

mongPiston’sother“faults" werehisdevotiontolyricism andhisunwillingnesstoaban¬ dontonality.Bothareamply ondisplayinthe Sinfonietta of1941.Thisisaworkthat,once again,ismoreintensethanitstitle wouldsuggest:thisisno“lite”beer, butratherafull-bodieddraft. Piston'slyricismismostevidentin thepensivesecondmovement.Itsair is continually dark and heavy, relievedonlybyaverybriefpassage intheclarinets.Themelodiclineis one continuous stream connecting thefirstnotetothelast,passing withoutpausefromoneinstrument toanother.ThisisaveryRomantic concept, even Wagnerian. A good conductorwilltakegreatpainsto sustain the energy and emotion alongtheway.

The more boisterous outer move¬ mentsarerhythmicandangular,yet eventheyhaveshortlyricalinter¬ ludes.Theseservetobothtemper andaccentuatethecareeningrhyth¬ miclocomotionaroundthem.

Allisperfectlytonal,yetnoone would mistake Piston’s harmonies forMozart’s.Pistonlikestosetusup withaharmoniccenterthatseemsat oncefamiliarandinnocuous,thento suddenly take us where we hadn’t expectedtogo.Ifyouthoughtthe authorof Harmony mightserveup somethingblandinthisdepartment, yourtastebudsareinforaspicy treat—especiallyifyougetsaltwhen youwereexpectingsugar!

hen Bruno Walter was a youngmanhevisitedhis friendandmentorGustav Mahleratthecomposer’s country home. Upon his arrival,Mahlercouldseethathis friendwasplainlyinaweofhisbeau-

tifulsurroundings.ThisledMahlerto exclaim, “Don’t bother looking—1 havecomposeditall!"

Onecouldscarcelyimaginetheohso-soberWalterPistonmakingany suchremark.Infact,Pis¬ ton usually avoided composing descriptive orprogrammaticmusic. Like many composers (includingMahlerhim¬ self—attimes)hefelt thesethingstobetoo limitingforhimselfand hislisteners.Asheput it,hisaimwassimplyto compose“withnointent other than to make musictobeplayedand listenedto.”Theexcep¬ tionthatprovestherule ishis ThreeNewEnglandSketches of 1959.Ifyoudon’thearthemoun¬ tains,forests,andshorelinesof Maineinthismusic,you’dbettergo outsideandcheckyourlicenseplate.

noticeditssound.Aswehearthe waveslappingagainsttheshorewe areremindedofthebeautyandcon¬ tinuityofthesea—justaslateronin the music we are reminded of its

“Theaudienceshouldn'ttry

tofindspecialplaces

notaboutthegreenrollinghillsof Vermont.Pistonlaysbeforeusthe craggy,stentorianedificescarvedby thehandofNatureinherterriblewis¬ dom.Acentralfugalsectionleadsto questioningvoicesinthe winds;bytheend,howev¬ er,thequestionsremain unanswered as we stand inaweofthemajestyof whatis.

inthismusic,butIwon't mindiftheysmellclams intheair.”

relentlessdanger.

Seaside opens with such sinuous subtletyitseemsasifithadalways beenthere,andwehaveonlyjust

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SummerEvening isthescherzoof thepiece.Piston’seveningisbustling ratherthanserene.Hereitisfullof creaturesjustgettingtoworkaswe are winding down the day—along withapeskymosquitoortwo. Thereisnodoubtthat Mountains is

Piston explained that ThreeNewEnglandSketch¬ es wasnotprogrammusic perse,butratherthe “impressions, reminis¬ cences,anddreams”ofa New England composer. “Theaudience,”hesaid, “shouldn’ttrytofindspe¬ cialplacesinthismusic, butIwon’tmindiftheysmellclams intheair.”

11ofwhichseemstohavelittle todowithstuffyoldbookson counterpoint.Itdoeshaveto do with a zestful attitude aboutlifefromapassionate man.IsPiston’smusicpassionate?

Youbetitis.Thatitdoesnotdisplay theheart-on-the-sleeveemotionof Tchaikovsky,orindulgeintheend¬ lessleave-takingofMahlermakesit nolessso.Whileitmightseemthat Romanticismandeconomyaremutu¬ allyexclusive,itturnsoutthatdirect¬ ness is one of the most salient featuresofPiston’smusic.AsAaron Copland wrote, “His music has a characteristicwayofgoingstraight tothepoint.”

SoifPistonwasindeedoneofAmer¬ ica’smostdistinguishedmusicacad¬ emics,weshouldn’tholdthatagainst him when exploring his music, shouldwe?Therobe,mortarboard,

TheRecordings

WalterPiston'smusichasnever been well represented on recordings,eitherinquantity orquality,butspecialmention should be made of the series with Gerard Schwarz conduct¬ ing the Seattle Symphony Orchestra and the New York Chamber Symphony on Delos records. Schwarz conducts with insight,lyricism,andpower, theorchestralplayingisterrif¬ ic,andtherecordedsoundis first-rate.Onehopestherewill be more to come. WalterPiston

Schwarz: SSO. NYCS Delos DE 3106

WalterPiston

No. 2

No. 6

Schwarz-: SSO. NYCS Delos DE 3074 andmantlehadnothingtodowith thecreationofthesounds.Let’snot bedistractedbythemusty,dusty smellofoldleather-boundvolumes andoiledwood;ifweweretoplay thismusicthewayitisratherthan the way wethinkitis,wecouldn’t missthesharp,bracingvigorandthe complexpassionsthatlivewithin these notes. H

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StateO’MaineFurniture

StoryByJackBarnes,PhotosCourtesyOfMaineStateMuseum

WiththefallofQuebectothe Britishandthesubsequent signing of the Peace of Parisin1763,thehinter¬ landaswellasmuchofthe coastalareaofMainewasatlastfree fromthedangerofFrenchandIndian

raids.Soonthereaftersettlersbegan moving up the rivers and hacking cruderoadsthroughpristineforests. Settlements quickly mushroomed throughout much of what would becometheStateofMainein1820. Sawmillsandsmallfarmssetthese

communitiesinmotion.Ofcourse, theblacksmithandmillerwereindis¬ pensable cogs in each community. Butso,too,werecarpenters,joiners, and cabinetmakers, and by 1800 almost every community supported oneormoreofthesecraftsmen.

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Forthemostpart,familieswere large,andconsequentlyhous¬ es were spacious. Furniture was in great demand. But, exceptforthecoastalareas, importingfurnituremadefromsuch exoticwoodsasmahoganyandrose¬ wood was extremely difficult and expensivebecauseofthepoorinfra¬ structure.Then,too,onlythevery wealthylivinginMaine’scoastal townscouldaffordtheluxuryofhighqualityfurnitureanymorethanmost

today can afford Cadillacs and BMW’s. What people wanted was affordablefurnituremadefromsuch indigenouswoodsasbirch,beech, maple,basswood,andtheubiquitous white pine—but disguised to look likemahoganyandrosewoodfurni¬ ture.Todaywegotoplacessuchas K-MartandZayreforthecheaperfur¬ niture.Butourearlyancestorsrelied upontheirlocalcraftsmen,number¬ ingintothehundreds,tosupplytheir modestneeds.Theirtechniquesdif¬ feredgreatlyfromKitterytotheSt. JohnsValley,anditispartlydueto thisvarianceandthediversityofthe furnituretheymadethatlocalhisto-

rianstodayaremuchbetterableto tracetheregionaldevelopmentof Maine.

But how does one disguise a mongrelpieceoffurniture,fre¬ quentlymadefromscrapsof severalvarietiesofwoodto looklikemahogany,rosewood, orevengoodqualitymaple?Thisis wherethedecoratorsandstencilers enteredintothepicture.Theyused paint,stain,andglaze.Themore elaboratestylesbeingsimulated, suchasEmpireandSheratonpieces, ofcourse,requiredthegreaterskill. Between1810and1820,theeraof

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so-calledpaintedordecoratedfurni¬ turewasinfullswinghereinMaine; and,accordingtoEdwinChurchill, thecuratorofdecorativeartsatthe Maine State Museum and author of SimpleFormsandVividColors (pub¬ lishedin1983byTheMaineState Museum), “began tapering off to some degree in the ’40s and ’50s when mahogany, mahogany veneers, andveneer-makingmachinesallgot involved.”

Graining,striping,andstenciling werethethreebasicmethodsofdec¬ oratingpaintedfurniture.Redand blackgrainingwasusedtosimulate rosewood,mahogany,andbird’s-eye maple.Soskillfulwerethebestdeco¬ ratorsthatonlythosewithadiscern¬ ingeyecandistinguishamelodeon paintedtosimulaterosewoodfrom the authentic rosewood melodeon displayednexttoitintheMaineState Museumcollectionofpaintedfurni¬ ture—thelargestintheworld.Less subtlewerepieceswithbroadblack striationsonaredfinishandblack

Nowproducing whole-wheattortillas Freshflourtortillas Nopreservatives Guaranteednotto crackorbreak Wholesale&Retail Servedlocallyat Bintliff’sCafe,Back Grill,DosLocos, GreatLostBear,Raff’sandothers

splotchesdaubedonthelegs,such asoneseesonaTobeyCountrySher¬ atondressingtableandwashstandin theMaineStateMuseumcollection.

Some of the most eye-catching pieces were simple washstands, dressingtables,andchairs—often elaboratelyandartisticallydecorated withscrolls,sundrykindsoffruits, andfoliagepaintedonayellow,gold, orwhitebase.

One of the most beautiful piecesillustratedinSimple FormsandVividColorsisa Country Sheraton stand ownedbyGeorgeMorrillof Morrill’sAuctions,Inc.,ofGray,who collectedhisfirstpieceofpainted furniturewhenhewas16,“aboutthe time1gotmyfirstdriver’slicense,” herecalls.Alargebasketoffruitwith foliage and floral designs on an unpaintedsurfaceembellishesthe surfaceofthetable,andhousesand trees—resembling Rufus Porter murals,adornthesides.Justasone findsonsomelate19thcenturyChi¬ nesechinoiseriefurniture,thereare poemsinscribed—inthiscaseonthe frontandbackofthedrawer. Andwhowerethesevernacularand oftentimesitinerantartistswhoso oftendisplayedconsiderabletalent andinsomeinstancesoriginality? Unfortunately,althoughthemakers ofmanyextantpiecescanbetraced, mostoftheartistsaredoomedto

anonymitysincetheyseldomsigned theirwork.GeorgeLord(1833-1929) isone,however,whosucceededin escapingthefateofmostofhisearli¬ erpredecessors.Hebeganworking atanearlyageatthefurniturefacto¬ ryinPortlandownedandoperated byWalterCorey,evincinggreattal¬ entasastencilerandemulatorofear¬ liermasters.

Onethingiscertain.Ifthese craftsmen could come back tolifetoday,theywouldbe astounded at what their affordablepiecesthatsome¬ howhavesurvivedthetestoftime arecurrentlysellingforatauctions andprivatesales.AccordingtoMor¬ rill,agoodpieceofpaintedfurniture couldgoforbetterthan$300,000. Andsincehighpricesusuallyreflect thescarcityofanitem,onerightfully mayask,“Whathappenedtoitall?”

“Therewasplentyofitarounduntil the1920sthroughthe1950s,”Morrill says.

Thiswasduringtherefinishing craze.PeoplewerelikeShintoists.Theydestroyedallthe valuable folk art in an ephemeralobsessiontoreveal thenaturalgrainsofordinarynative wood.Indoingso,theycausedprices oftheremainingpiecestosoar.One wonderswhatapieceoffurniturepur¬ chasedatK-Martmaybeworthtwo centuries from now. ■

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nue Sideboard

issuepiecescarryontheStickley nameofquality.

SpeckledAlderChairbyDougNye,WabiWoodShop,Thorndike,Maine.$135.

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Ads & Craps Movement urnitureinspiredbytheArts andCraftsMovementeliminat¬ edthefrivolousornamentation oftheever-popularVictorian stylinginfavorofrefinedsim¬ plicityanda“missionofusefulness.” AttheturnofthecenturyGustav StickleytouredEngland,Scotland,

for$363,000.(Alimitedre-issueof 100hasbeenmade,pricedat$10, 392.) To meet this increase in demand, the company began to re¬ issue“historicallyimportant”Mis¬ sion Oak pieces. Though the old method of sealing furniture with ammonia fumes has been replaced by modern technology, these re¬

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gestedretail.TheTrailslinecanbe foundatFolsom’sFurnitureinAlfred, ME.

RiasHc Iwg

The least expensive Adirondackstylefurnitureismaderightherein Maine.DougNyehasbeenproducing rustictwigfurnituresince1978,using hand-gathered “green-speckled

"The surroundings householders crave are glorified autobiographies ghost-written by willing architectsandinterior designers who, like their clients, want to show off." — T.H. RobsjohnGibbings, "RobsjohnGibbings Names the Biggest Bore,"Town and Country, January 1961.

alder” from his vast fields in Thorndike.Afteritisseasoned,the woodturnsabrownishred,andNye usesspiralorthreadednailswithno gluetoassemblethefurniture.His pieceshaveadurablefinishwhich requiresnospecialcare,although somepeopleapplyafinishoflinseed

"Achairisaverydifficult object. A skyscraper is almost easier. That is why Chippendale is famous." — Mies van der Rohe,Time, February 18, 1957. oilto“enhancethebeautyofthe chairs.”

Nyeinsistsupondurability,com¬ fort,andbeautyineachofhiscre¬ ations.Heguaranteeshisfurniture forlife,aslongasitisusedsolelyout¬ doors,andproudlyassertsthatno one has ever returned a piece or complainedofitsworkmanship.At his Wabi Wood Shop (“wabi” is Japaneseforcreatingsomethingof beauty“fromthesimplestofmateri-

alsandwiththeleastexpense”)this down-to-earthartistwillevenperson¬ allydesignacustomer’sownideafor apieceofrusticfurniture.

Picturedonpage35,upperleft: Medium-sized chair, $135. Prices rangefrom$135to$500.WabiWood Shop,Thorndike,ME.

TheNativeAmericanIndiansprized birchbarkforitsunusualstrength andbeauty.Thedurabilityofthe barkmadeitapracticalmaterialfor everythingfromstorageutensilsto canoes. Today, its north country beautyaddsanadventuroustexture tomanystylesofcountrydecor.

Lady Slipper Designs, Inc., the nation’slargestnon-profitcottage industrydistributor,developsOjib¬ weIndianhandicraftsmadeonreser¬ vationsinnorthernMinnesota.For theOjibwe,birchbarkworkisoftena familyactivitythatprovidesamuchneededsupplementalincomeaswell asameansofculturalexpression.

MorethanonehundredNativeAmer¬ icanfamiliesarereapingthebenefits ofcraftsalesasthetwiggyrusticline andbirchbarkpiecesbecomebest¬ sellers.

Birchbarkiscollectedinthesum¬ mer,whenitpeelseasilyfromthe trees.Thismethoddoesnotkillthe trees,sincethebarkwillgrowback aslongasthedeepestlayersarenot taken.Thecraftspeopleusethebark whenitisfresh,piercingholesonthe seams with an awl. Lady Slipper Designs, Inc. note that “Ojibwe designsreflectfloralandwoodland patternssymbolizingtheOjibwe’s harmonywithnature.”

AuthenticOjibweDaisyBaskets218”highcost$16.95to$59.95atThe ResourcefulHomeinPortland.

Scrap Wood GreaHoas TimWilsonisaresourcefulfurni¬ turemaker.Hetransformsbitsand piecesandoddsandendsthatoth¬ ersmayseeasscraporleftoversinto fantasticdecor.Oldtom-downbuild-

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Callorwriteforfreeinformationor send$5forcatalog.

ings,left-overflooring,andvarious piecesofbroken-downfurniturepro¬ videthiscraftsmanfromGraywith hisrawmaterials.Addingarchitec¬ tural detailing with water-based paintssotherearenomineralspirits, Wilsonreconditionshisfoundwood tocreate“decorativeart.”

AformerNewYorkartdirectorand illustrator,Wilsonwaitsforinspira¬ tionfortheexactpieceoffurnitureto becreated.Someofthepiecesof foundtreasurearestoredforyears beforetheperfectvisionofartcomes tomind.Eventually,turningvalue¬ lesscast-offsintoattractiveworksof artisextremelyfulfilling.

Pricesrangefrom$75to$2,500. TimWilson,Gray,ME.

RecycledFuEnmiliuine

Ifyouthinkyourbroken-downold televisionsetisjusttakingupspace inthebasement,thinkagain!Two youngPortlandartistshavetakenthe usual and made it unusual. While workingatalocalfurniturestore, JamieKeilandJonHalldecidedto puttheircreativitytothetestwhen co-worker Cindy Thomas suggested thattheychangetheappearanceof severaloldtelevisionsetsbeingused aspropsintheshowroom.The25year-oldartistslettheirtalentsloose usingacrylicspraypaintandgeomet¬ ricstencilsastheirmediumforcreat¬ ing an instant piece of art with definedlinesandamattefinish.

NeitherKeilnorHallisatrained artist.Keil,originallyfromAndover, MA,isadevoteeofpointillism.He alsoenjoyscreatingthree-dimension¬ al art from discarded cardboard; shipsaresomeofhisfavoritesub¬ jects.Hall,aformerresidentof Auburn, uses found objects and materialstocreatecomicabstracts andjewelry,mostlyoutofcopper. His work is both two- and threedimensional, functional and non¬ functional.

Theirdecoratedrecycledtelevision ($250)isondisplayatRichardParks InternationalHomeFurnishingsin Portland. Custom orders are wel¬ come.

Classic Conllemporary

HustonandCompanyisafurniture shopinPolandSpringthatspecial-

izes in finely crafted, customdesignedfurnitureofheirloomquali¬ ty. Craftsman Bill Huston, who receivedhisinitialtrainingfroma Norwegianmastercraftsman,builds “the antiques of tomorrow” cus¬ tomized“justthewayyouwantit.”

Huston and Company’s new Studio TableSeriesisagroupoflimitedpro¬ ductionpiecescharacterizedbyele¬ gance with a contemporary flair. Raisingthebeveled“floatingtops” providesdefinition,whilethetaper onthelegsaddsagracefulelement tothisinvitingform.Delicateribbing on the skirts—the area directly beneaththetop—completestheorig¬ inaltouch.

TheStudioTablesaremadewitha varietyofsolidwoodsandfinishes, includingall-naturalcherrywitha walnutskirtandamahogany-stained topwithablackbase.

Inresponsetocustomersinterest¬ edintheoriginofthehardwoods used in these pieces, Huston remarks,“Lumberthatisavailablein quantityandkiln-driedisnotfound that much in Maine.” Most of the cherryisbroughtfromwesternPenn¬ sylvania,whilewalnutisimported fromtheMidwest,andashistrans¬ portedfromtheAppalachianarea. AlthoughMaine’sforestsareaviable sourceofmapleandpine,thesesoft¬ erwoodsarenottraditionallyusedin makingthefinestfurniture(seeour storyonState’0MaineFurniturein thisissue,whichfeaturesfaux-finish paintingonpinefurnituretosimulate hardwoodgrains,onpage29).

Pictured:TheStudioTableSeries, $325-$550, by Huston & Company,

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Willis

Continuedfrompage14

correspondentfortheNewYork Mirror, wherehewonanational audience.Hewasassociateeditor ofthe EveningMirror from18441846andthe HomeJournal from 1846-1867.

In-between,hewroteanumber ofbooks,amongthemthesplen¬ did FugitivePoetry (1829), Inklings ofAdventure (3volumes,1836), A I’Abri;or,theTentPitch’d (1839), LoiteringsofTravel (1840), Ameri¬ canScenery (3volumes,1840), PencillingsbytheWay (1844), DashesatLifewithaFreePencil (1845), RuralLetters (1849), FamousPersonsandPlaces (1854), PaulFane (1856), TheConvales¬ cent (1859),andaplay, Tortesa,or theUsurerMatched (1839).

“T ITisportraitistFrancis Alexander(1800-1881) _ was from the same 19thcenturybratpack _LL_LI_asWillis;whenCharles DickensvisitedBostonandagreed tositforAlexander,greatcrowds

attendedDickens’sdailystroll fromhishoteltotheartist'sstudio, and a jealous Henry WadsworthLongfellowcoinedthe verb“Alexandered”tomeantak¬ ingadvantageofasituation.

TheWillisportraitwasprobably paintedinBoston.

Willis'scareerwasflourishingin New York when he met and mar¬ ried the New Bedford merchant princessCorneliaGrinnell.In1853 they removed to “Idlewild” in Cornwall-on-the-Hudson,NewJer¬ sey,anestatenearWashington Irving's“Sunnyside,”wherethey entertained‘literarycelebritiesof theday.’

Until1930,thepaintinghungin hisson'shouseinMorristown, NewJersey.WhenGrinnellWillis died,heleftthepaintingtothe MorristownLibrary,where,last tracedtothislocationin1951,it maybeseentodayabovethefire¬ placeintheChildren’sRoom.I

ReproJuclaoiiis

Whetherit’sa17th-centuryGover¬ norBradfordturnedchair,orMcIn¬ tyrecarvedsheavesofwheatfora Federal-styleresidence,AllanBreed’s highly-craftedreproductionsdraw nation-wide attention. A self¬ employedcabinetmakersince1976, Breedusesperiodtoolsandtech¬ niquestobring17th-,18th-,andear¬ ly19th-centurypiecestolifeinhis CiderHillWoodworksshopinYork.

Inadditiontofurniture-building, architecturalcarving,andturning, Breedalsoevaluatesspecialpieces forbuyers.

Muchofhisworkisdonefor“col¬ lectorswhoneedspecialpiecestofill outcollections,”butmuseumsalso useBreed’stalentwhentheyneed reproductions for educational pieces.Sotheby’sEducationDepart¬ ment, the Milwaukee Art Museum, thePortlandMuseumofArt,andthe DallasMuseumofArtareonlyafew oftheinstitutionsthathavehosted Breed’slecturedemonstrations.And Breed made the stunning replicas whichappearedlastsummeratthe Portland Museum of Art’s PortsmouthFurnitureshow,anaffair celebrating the exotic, diseased hardwood designs which Ports¬ mouth, New Hampshire craftsmen fashionedintoantiquefurniturealive withthecolorsoftigermaple,flam¬ ingbirch,mahogany,andbird's-eye maple.Consideringalltheresearch anddetailthatgointoeachproject, whatresultsistrulyamirrorofthe past.

Picturedabove:WilliamandMary banister-backedarmchairoftheear¬ ly1700s,$2500.CiderHillWood¬ works, York, ME. ■ PolandSpring,ME.

The Cannery

he Cannery Restaurant, withitscommandingvistaof theRoyalRiverinYarmouth ' off Route 88, featuring a nearjetportofwhiteshore birdstakingoffandlandingalong thetidalrocksandmudflats,has takenpainstocreatearestaurant withasmuchmassappealasits YarmouthHarborview.Thewellwindoweddiningroomisopenand airy, children are pleasantly accommodated, and the menu is solidwithseafood.

Fromalistofappetizersthatalso includesasmokedfishsampler, clam chowder, fried mushrooms, andbriewithfruit,wechosecala¬ mariandshrimp($5.50)andmus¬ sels ($6.95). The calamari and shrimpweredeepfriedandserved withcocktailandtartarsauces. Theseafoodwasfreshandtender, thoughthecoatingremainedabit pale and undercooked. The mus¬ selsweresteamedinwine,garlic,

butter,andherbsandservedinthe shell.Thiswasagoodrenditionof anoldstandard,withthemussels plentifulandplumpandthebroth creamyfromthebutterandredo¬ lentofgarlicandwine.Someresid¬ ualgritwastheonlydownsideto anotherwisesuccessfuldish.

Alongwithadozenorsoentrees, therearealsosomelessexpensive alacartechoicessuchasfriedfish andsandwichesaswellasalistof salads.ForentreeswechosePan BlackenedSwordfish($14.95)and Cannery’sStuffedFish($13.95). Someselectionsleftuntriedwere Bouillabaisse,FriedClams,Chicken Marsala,andadailypastaspecial. ThePanBlackenedSwordfishwas wellprepared,asthespiceswere crustedandcharredtothesurface, givingthecharacteristicsmoky taste,whilethefishremainedmoist

inside.Onlymildlypiquant,thefish wasadditionallyenhancedwitha topping of caper butter. The stuffedfishwaspreparedbyweav¬ ingfingersofsalmonandcodfilet together.Thismosaicoffishwas placedoveraseafoodstuffingwith sherry and newburghy flavors. Interestingly,thehandiworkof weaving the fish together was obscuredbycoveringitinacloak ofcreamsauce.

Placingthefishonaplatenapped withthesaucewouldhavejazzed upthepresentationconsiderably.

Crisp red new potatoes and sauteed summer squash accompa¬ niedthedinners(otherchoicesof starchareavailable)aswellasa greensaladwithawidearrayof dressings.

Thewinesarewellpriced,almost exclusivelyAmerican,withahalf dozenbytheglass.

For dessert we had Pecan Pie ($3.80)andaTollHouseSundae ($3.50).Thepiewasagood,nutty, buttery,toffee-likeconfection servedwithicecream.Thesundae hadtheusualcomponentsonatoll house cookie crust. ■

-Mark Mickalide

Maine State Ballet, 17BishopStreet, Portland,willpresentsixfullscale performances,withliveorchestra,ofthe classicRussianversionof“Sleeping Beauty,”theballetthatTchaikovsky consideredoneofhisfinestscores. Friday,April8,8p.m.andSaturday,April 9,2and8p.m.attheWatervilleOpera House.$14/16.Saturday,April16,2and 8p.m.andSunday,April17,2p.m.at Portland City Hall Auditorium. $8/14/16/18.$2discountforseniorsand childrenunder12.Call856-1663for tickets.

Portland Concert Association, 262 Cumberland Avenue, Portland. The much-recordedAcademyofSt.Martinin theFields,anEnglishself-conducted chamberorchestraoriginallyconceived bySirNevilleMarriner,willperformat 7:30 p.m. on Monday, April 11. On Thursday, April 28, at 7:30 p.m., Hungarian-bornpianistAndrasSchiff,a frequentguestofmajororchestras,will giveoneofonlythreeU.S.recitalsthis season.Forinformation,call772-8630. Andfortheyoungandyoungatheart, JohnKelleher,oneofthemostpopular performersforfamilymusicalconcerts,

LISTINGS

willbesingingatPortlandHighSchool AuditoriumonSaturday,April23at1:30 p.m.$7.

Bowdoin College, Brunswick.Screening of“AnchoroftheSoul,”anhour-long documentaryaboutblackhistoryand racerelationsinMaine.Thefilmtellsthe storyofAfrican-Americansstrugglingto createandsustainablackcommunity centeredaroundPortland’sAbyssinian Church,whichwasfoundedintheearly 1800sinthewhitestpartofAmerica,and laterbecameknownasGreenMemorial AMEZionChurch.Thursday,May5,7:30 p.m., Beam Classroom, Visual Arts Center.AlsoatBowdoin,B.B.Kingand hisOrchestrawillbeperformingon Thursday,April14at7:30p.m.inMorrell Gymnasium.$17.OnSunday,May1,at3 p.m.intheChapel,theBowdoinChamber Choirwillperformaconcertfeaturing contemporarychoralmusicbyPortland composers George Andoniadis and HaroldStover.Admissionfree.At4p.in., theBowdoinChoruswillsing“Mystical andMiracleMusic”atStateStreet ChurchinPortland.Forinformation,call 725-3375or725-3747.

Portland Performing Arts, 25AForest Avenue,Portland.BigSoundsFromAll Over presents the Maine premiere performanceoffive-timeGrammywinner EddiePalmieri,oneoftheinventorsof “salsa”,andhisall-stareight-piece orchestra.Friday,April22,8p.m., PortlandHighSchoolAuditorium.$15. Forthosewitheclectictastes,Bridget Fitzgerald,VergieL.Kelly,Tatiana Sarbinska, Josee Vachon, and Ana VinagrewillrespectivelycelebrateIrish, African-American,Bulgarian,Quebecois, andPortuguesefolksongsbyandfor wojnenatPortlandPerformingArts CenteronSaturday,May21at8p.m. $14.Call774-0465.

Portland Museum of Art, 7Congress Square,Portland.OpeningApril16,The AnneFrankProjectexhibitionbyEllen Rothenbergwillfeatureanalysisof handwritingsamplesfromAnneFrank’s diaries, reproductions of the photographsshetackedonherwallsin the“SecretAnnexe,”concentrationcamp uniforms,and“falseartifacts.”Through June5.OndisplaythroughJune26,an exhibitionofthirtymapsfrom1493to 1782explorestheimagesofmonsters

■ LISTINGS ■

andmythicalandallegoricalfiguresand scenesusedinearlycartography.In honor of the 100th anniversary of MarthaGraham’sbirth,eightofBarbara Morgan’sphotographsoftheMartha Graham Dance Company from 1935 to 1941areonexhibitthroughMay15.Call 773-ARTSor1-800-639-4067.

Portland Symphony Orchestra, 30 MyrtleStreet,Portland.TheChamber Orchestra will perform works by Rossini,Gershwin,Ravel,Piston,and MilhaudintheEastlandBallroomof Portland’sSonestaHotelonSunday, April 10 at 2 and 6 p.m. $22. On Tuesday,April26,Orff’sCarminaBurana will be performed at 7:30 p.m. at PortlandCityHallAuditorium,along with Beethoven’s Symphony No. 5. $10/$18/$25/$32.GuestconductorSkitch Henderson will lead the Symphony OrchestraintwoPopsconcertsentitled “FromIrvingBerlintoBacharachand Bernstein”onSaturday,April30at7:30 p.m.andonSunday,May1at2:30p.m. Both performances at City Hall Auditorium.$10/$18/$25/$32.TheMaine FrenchFiddlerswilljointheSymphony forfour“FiddleTunes”YouthConcerts at City Hall on Monday, May 2 and Tuesday,May3at9:30and11a.m.$2. Forreservationscall773-8191or1-800639-2309.

The Chocolate Church, Bath,willhosta juriedartshowforaspiringartists. Artwork(nophotos)readyforhanging andrelatedtothetheme“Reflections” maybesubmittedonTuesday,May3, from9to4atthechurch.Entrieswillbe judged on Wednesday, May 4, and a viewingwithreceptionwillbeheldon Friday,May6,5-7p.m.Entrancefees:$5 for1submission,$8for2,$10for3. AlsoinareflectivemoodwillbePaul Sullivan'spianoportrayalsofMaineon Saturday,April16at7:30p.m.$10,$8 students and seniors. Even more dreamlikewillbeStudioTheater’s presentationof“AliceinWonderland" TheMusical.Friday,May20,7:30p.m., Saturday,May21,2and7:30p.m.,and Sunday,May22,3p.m.$10,$8seniors andchildrenunder12.Matinees$5 seniorsandchildrenunder12.442-8455.

State Theatre, 609CongiessStreet, Portland.Afterenjoyingperformances bytheSamples(April14),Richard Thompson (April 15), and Tom Rush (April22),warmuptothetraditional MexicanfolkdancingofBalletFolklorico on April 23. Legendary musicians PinetopPerkins,LutherGuitarJr. Johnson,JimmyRodgers,LesterBig

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DaddyKinsey,CalvinJones,andWillie Smithre-uniteforatributetoMuddy WatersonApril24,andApril29isBeat NightOutwithAllenGinsbergreading hispoetrytotheaccompanimentof Devonsquare,AztecTwo-Step,andthe Fringe.Forticketinformation,call8791112.

The LARK Society for Chamber Music, P.O.Box11,Portland.ThePortland StringQuartet’sfinalconcertthis seasonwillincludeBach’sBrandenburg ConcertoNo.3,Mendelssohn’sOctetfor StringsinEb,Op.20,andTchaikovsky’s SerenadeforStrings,Op.48,with protegesofthePSQasguestartists. Sunday,May8at3p.m.,Woodfords CongregationalChurch.$15general admission,$10seniorsover60and children under 12. Free parking, handicappedaccessible.CalltheLARK Societyat761-1522.

Portland Stage Company, Box1458, Portland, presents as their final performanceoftheseasontheworld premiereof“LosingFather’sBody”by ConstanceCongdon.April17-May14. 774-0465.

L/A Arts, 234LisbonStreet,Lewiston, presentstheAmericanBallroomDance Theaterperformingafullycostumed andstagedrepertoryofdancessuchas thewaltz,thetango,theLindyHop,and thesamba.Theprogramwillinclude “The Rainbow Room," “Tango,” and "SilverScreen."Somepiecestracean imaginarystoryline,whileothersare moreabstract.Friday,May13,8p.m., LewistonJuniorHigh.$15/13.CallL/A Artsat782-7228.

Portland Sea Dogs Baseball Team, HadlockField,neartheExpo,Portland. Portland'sAAminor-leaguebaseball teamdebutswithhomegamesonApril 18,19,20,22,23,and24,aswellasMay 5,7,8,9,10,and11.TheSeaDogsare affiliatedwiththeFloridaMarlins.

Bates College, Lewiston. Portland Symphony Orchestra concertmaster Lawrence Golan and pianist Martin Perry will perform works from the Classical,Romantic,andtwentieth century chamber music repertoire. Friday,May13,8p.m.OlinArtsCenter ConcertHall.Admissionfree.786-6135. Perrywillalsoplaypianoduoswith Kathryn Lewis at Bowdoin College, Brunswick,onSunday,April17at3p.m. inKresgeAuditorium.$10/$8seniors. 725-3151. ■

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Asusual,whenevertheyvisit¬ edColette’sfamilyinBidde¬ ford, Norman spent the eveninginthekitchenwhile Coletteyakkedwithherfifty or more aunts and uncles and cousinsinthelivingroom.Manyof them had even come down from Canadafortheoccasion.Thetalk andlaughterwelledandebbedlike ablizzardwind,andNormankept glancingoutsidetoseeifspring’s laststorm—afootofsnowfore¬ cast—hadstartedyet.Ithad.Nor¬ manhatedalatesnow.

Fromtimetotime,UncleMonkor Colette’slittlebrother,Raoul, wouldcomeintothekitchenfor more coffee or Coke. Raoul was twelve,amop-hairedruntwitha squintingwayofscrutinizingpeo¬ plefrombehindhisglasses.

“Whatchalookingat?”

FICTION

Monk anyway.

“That baby looks good and healthy.”

“Thankyou,Father...”

“Fivegenerationsinthatroom. Thinkofit.LittleNatalieinherfirst yearandMemeinherninety-first. Whatafantasticnight!”Hetooka beerfromtherefrigeratorandleft thekitchen.

Norman’s eyes automatically returnedtoRaoul’s.

“Wannaplaywar?”Raoulasked. “No...”

“It’s a card game. Everybody playsit.”Raoultookadeckof cardsoutofacabinetandclumsily shookthemoutoftheirpackage ontothetable.Afewscattered ontothefloor.“Wannaplay?”

Normanhesitated,thenshrugged. “Whatthehell..Iguessso.”

Butinafewminutes,theparty

SayNoMore

NewFictionByFredBonnie

“Nothing,” Norman said. “Just thisstupidsnow.”

“Itain’tnopointinwatchingit snow.Don’tdonogood.”

Uncle Monk came into the kitchenatthatmoment.Hisreal name was Denis, but the family calledhimUncleMonkbecausehe wasapriest.Hewastheonlyonein thehousewithanEnglishnick¬ name.

“Well...Norman,” Uncle Monk said,“1wasalmostwonderingif youwerestillhere.Comeinand jointheparty.Memedoesn’tturn ninety every year.” Uncle Monk was wide-shouldered and stumpy withthingrayhaircombedback againsthisshinypinkscalp.It curledupattheends,nomatter howmuchhairgreaseheplastered onit.

Normantriedtothinkofsome¬ thingtosay,butthewordsdidn’t comefastenough,notforUncle

began to break up as the women filledthekitchenwithstacksof plates,theirchatteringvoices,and thesoundofwatergushingintothe sink. They ignored Norman and Raoul, who continued to play cards. The more people entered the kitchen, the more detached anduneasyNormanfelt.

“Here.”Coletteabruptlydeposit¬ edthebabyinNorman’slapand startedhelpingtheothersdrythe dishes.Inwhatseemedlikeonlya few minutes, everything was replacedinthecabinetsandsilver¬ waredrawers.ColettehandedNor¬ man Natalie’s snowsuit, and he gentlystuffedthesleepy,impas¬ sivechildintoitlimbbylimbwhile Colettewentbackintotheliving roomtobeginthegood-byes.Nor¬ mancarriedNatalieinfortheoth¬ erstodotheirfinalgawkingand cooing for the night. Norman noticedthatMeme,whowasmost¬

lydeaf,noddedandsmiledina detachedsortofway.Likehim. he snow blew around them as they hurried from the porchtothetruck.Colette’s ebullience evaporated as sheslidontothecoldseatof the pickup, and Norman handed herthebundledbaby.Hegotinon hissideandstartedtheengine. Theheaterblewaloud,drychillat theirfeetasthewindshieldwipers slappedinaslow,squeakyrhythm. NormancouldhearColette’steeth chatterasshehalf-cooed,half¬ hummedatthebaby.Heeasedthe truckintothestreet.Thesnow cameatthewindshieldinadizzy¬ ingassault.

“So...Memehaveagoodtime?” “Iguessso.”

Normanlikenedherdistanceto thecoldairfromtheheater;she’d be more talkative once the cab warmed up, but he knew better. Shewasalwaysmysteriouslyquiet afterhervisitshome.

JustoutsideScarborough,hefelt theairsuddenlydeserttheright reartire.Itwasaretreadhe‘d boughtonlytwodaysago.

“You’dbetterleavetheengine running,”Colettesaidasheeased overontotheshoulder.

His mildly tired mood yanked itselfintoatensechokingfeeling, asifhe’dcometotheendofa chainaroundhisneck.“Noshit,” hesaid.Shegavehimahardlook.

Thecoldmadehiseyeswateras hepawedaroundinthesnow-filled truckbedforthesparetireand jack.Hecouldn’tfindhistireiron, anditwasimpossibletoseeinthe dark.Afterseveralminutes,Colette rolleddownherwindowandheld outaflashlight.

“Where’dyoufindthat?”

“Ialwayscarryoneinthebaby bag.”Hervoicetrailedoffasshe rolledthewindowbackup.

Thechokingfeelinggavewayto openresentmentashisbarehand foundthetireironunderatarp.He wouldhavefounditeventually,he

There

will always be a

specialplaceforHolmesFalls in the forests of Champion

Pveryspringfor200years,thesurgingwaters

P of the mighty Machias River carried logs past ^Holmes Falls to mills downstream.

The annual log drives ended in 1971, and now theriverrunswildandfree,spillingoverthespec¬ tacularwaterfallanddownthewhitewaterrapidsat thisbeautiful55-acresite.

Becauseareaslikethisareimportanttoallof us, Champion designates them as Special Places in theForest]"Someofthesesitesarecriticalhabitats for plants and animals. Others are recognized for theirhistoricalinterestorunusualgeology.

Ourforesterscarefullyidentifyandprotectthese unique locations, while continuing to manage other Champion land to meet America’s need for wood and paper products.

Today, nature flourishes undisturbed at Holmes Falls—and at dozens of other special places on our morethanfivemillionacresofU.S.forestland.

10,000OVERCOMBINATIONS OF COLORS,TEXTURES,SHADES ANDSIZES

■ FICTION ■

toldhimself.Withorwithouta flashlight.Heworkedquickly, venting his anger with quick, sharp movements, slamming the rimofthespareontothewheel studs.Minuteslater,backinside the island of warmth that the truck cab had become, he assumedthatColettewouldmain¬ tainhersilence,onlynowitwould beasmugsilence.Hewasn’tgoing totolerateit.

“What’syourproblem?”

“Ithoughtyouwereveryrude, stayingoutinthekitchen.”

“Rude?I’mrude?Fiftypeople jabberingawayinagoddamfor¬ eignlanguageandI’mrude?What weretheysayingaboutme?”

“Nothing. They just wondered whyyou...”

“Tellthemthey’reinAmerica now. We speak English here.” Normanfelthereyessnaptoward himashershockandangerfilled thespacebetweenthem.Heknew heshouldstoprightthere,buthe didn’t.He’dfixherforhavinga flashlightwhenhedidn’t.

“Andanotherthing,thatkid’s nameisMalloy.NotRobichard, notCloutier.TeachherEnglish. Okay?”

^Colette was staring straight aheadagain.Theyseldomfought, but when they did it was in silences,notwords.Theywere pullingintotheirdrivewaybefore shespokeagain.

“You’llneverhearanotherword ofFrenchoutofme.Ever.”

Heknewshemeantit,and herealizedblacklythatit washervictory,ifitwasa victory for anyone. He wanted to tell her he wasn’tasangrynow,notlikewhen hesaidit.Hewantedtotellherhe kindoflikedherkidbrother,and the pork pie that her mother made,andeventheideathathis kidcouldgrowupspeakingtwo languagesinsteadofjustone.But itwasalreadytoolateforsuchan admission. H

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