Portland Monthly Magazine September 1995

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Newsstand Cover Date: September 1995. published August 1995. Vol 10. No 6. copyright 1995. Portland Magazineis mailed al third-class mail rates in Portland. ME. 04101 (ISSN: OXX7-554O). Opinions expressed in articles are those of authors and do not represent editorial portions of Portland Magazine. Responsible only for that portion of any ad¬ vertisement which is printed incorrectly, and as compensation we will run a correction in the following issue Nothing m 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 Magazine is published I0 times annually by Sargent Publishing. Inc.. 57X Congress Street. Portland, with newsstand cover dates of Winterguide. February/March. April. May. .Summerguide. July/Augusl. September. October. November, and December. ToSubscribe...

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Thankstotheexhibition“Ed¬ ward Hopper and the Ameri¬ canImagination,"currentlyon view at the Whitney Museum ofAmericanArtthroughOc¬ tober15,folkscloseenoughtoNew YorkCityonceagainhavetheoppor¬ tunitytojudgetheartofthisAmeri¬ can master. The Whitney has bor¬ rowed many of the classics—Night¬ hawks(1942),NewYorkMovie(1939), HousebyaRailroad(1925),Cape Cod Evening(1939),Gas(1940),Suninan Empty Room(1963),tonamebuta handful—while drawing on its own extensiveHopperholdingstocreate

aknockoutshow.

Hopperhasalwaysbeentoutedas theultimateurbanpainter,capturing inhiscanvasesthelonelinessofthe cityanditsinhabitants.TheWhitney exhibitionunderscoresthisclaim, throughthemanypaintingsofmen andwomenshowninoffices,hotel andmotelrooms,attheAutomat,in minimally furnished apartments. Whileit’struethatmanyofthesefig¬ uresarebathedinsunlightorraked byartificialillumination,theygener¬ allygivetheimpressionfromtheir bowedheadsandmask-likevisages thatlifeain’tsogood,thatsomething

liketheGreatDepressionistheir nationalandpersonalstatusquo. Hopper’s men and women speak, as TimecriticAlexanderEliotputitin 1957,“ofthedepressingbanalityof thedemocraticexperience.” Whatmakesthecurrentexhibition differentfromthepreviousfivethat the Whitney has mounted of Hop¬ per’swork?Theshow’sorganizers havesoughttohighlighttheinflu¬ encehispaintingshavehad,andcon¬ tinue to have, on American cul¬ ture—and,inturn,howthiscoun¬ try’sliterature,theater,cinema,and arthelpedtoshapethelonepainter’s

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aesthetic.Thismutualinfluenceis alreadywellknown-it’scoffeehouse clichethatthelightinginthemovie Psycho,forinstance,isindebtedto Hopper-yet the Whitney has done thefullestjobyetofdocumentingthe connections,usingamultimediapre¬ sentation,walltexts,acatalogue,and amovieseriestodrivethepoint home.

Whilehappywiththepaintings,the NewYorkcriticshavebeennearly unanimousintheirdisdainforthe overloadofcontextualmaterial.The multimediashow,inparticular,has incurredtheirwrath.Here’s New YorkMagazine’s MarkStevens:“Few paintingsseemassilentasHopper’s, yet the multimedia presentation leaksuglysoundsandanoteofgar¬ rulityintotheexhibition.”AndHilton Kramer,writingin The New York Observer,pullsnopunchesinaccus¬ ing the curators of transforming “poor old Hopper, who was always somethingofasquare,intoanew Hopper,asortofswingingHopper— aHopperthatwouldappealonthe onehandtothefansofAlfredHitch¬ cock and Jean-Luc Godard, and on theothertotheliterarycrowdthat hascanonizedthelikesofAnnBeattieandTessGallagher.”

Otherreviewersnotedcertainomis¬ sionsintheexhibition.Inoneofthe mostsubstantivecritiquestoappear, RobertaSmithoftheNewYorkTimes pointsoutthattheexhibitionpre¬ sents“58ofHopper’sgreatesthits... withoutbenefitofdrawingsorearly work,thusprovidinglittlesenseof artisticdevelopmentorcontext.”

Iwouldbuildonthislastcriticism bynotingthatasidefromafewtoken lighthousepictures,theworkthat Hopper did in Maine was passed over by the curators. True, the painter’s renderings of Monhegan Island,ofOgunquit,Rockland,Port¬ landandCapeElizabeth,donotfit neatlyintothethematicschemeof “Edward Hopper and the American Imagination.”Theworkconsistspri¬ marily of landscapes—handsome ones,mindyou,butnotthekindof stuffboundtoinspirenovelistsand filmmakers,although1knowofone poet, William Carpenter, who has writtenseveralpoemsbasedonHop¬ per’sMainepieces.

Figuresarefewandfarinbetween inthis“summer”work;andthereis littleinthewayofsocialcommen¬ tary—nolate-nightdiners,nopen¬ siveusherettes,notrystsinthe porchlight.Allthesame,Hopper’s Maineworkdeservesourattention; and even a few key pieces would havelentsomesenseofthat“artistic developmentandcontext”missedby Smith.

Asifawareofthisoversight,the PortlandMuseumofArthasondis¬ play, also through October 15, a dozenofHopper’sMainepieces,part ofanimpressiveexhibitiontitled “The Allure of the Maine Coast: RobertHenriandHisCircle,19031918.”Thisshowallowstherareop¬ portunity to view work from Hop¬ per’sformativeyearsandtoseehow hepicturedMaine.

~ TIT opper was in Maine early inhiscareer,intheteens _ and 1920s. He had had artisticinclinationsand _LB ambitions from a young age;bornin1882andbroughtupin theHudsonRiverportofNyack,New York,Eddie,ashewascalled,began signing his drawings when he was ten.

AndHoppermadetherequisitetrip toEurope.InParis,hekepttohim¬ self,sketchingandpaintingalongthe Seineandintheparks.“I’dheardof GertrudeStein,”hetoldaninterview¬ er,“butIwasn’timportantenough forhertoknowme.”Laterinlifehe said,tongue-in-cheek,“Inmydayyou hadtogotoParis.Nowyoucangoto Hoboken.It’sjustasgood.”

Itwasin1900thatHoppermadethe decisiontotransferfromtheCorre¬ spondenceSchoolofIllustratingto theNewYorkSchoolofArt.Ofhis teachersthere,RobertHenri(18651929)madethegreatestimpression. OfHenri,Hopperwrotelaterinhis lifethat“Nosinglefigureinrecent Americanarthasbeensoinstrumen¬ talinsettingfreethehiddenforces thatcanmakeofanartofthiscoun¬ tryalivingexpressionofitscharac¬ terandpeople.”

The paintings Hopper produced duringhisearliestvisitstoMaine—to Ogunquit,wherehespentthesum¬ mersof1914and1915,andtoMon-

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heganIsland,wherehesummeredin 1916-1919—bearthestylisticimpress ofHenri.’’Whenthebrushstrokeis visibleonthecanvas,”Henrihad taughthisstudents,“ithasasize, coversacertainarea,hasitsowntex¬ ture...ithasitsspeedanddirection.” InhisviewsofthecoastatOqunquit, and even more so in his Monhegan landscapes,Hopper’sbrushstrokes aretangibleonthecanvas,forcefully deployed—Henri-esque.

Henri,himself,hadpaintedonMon¬ hegan and had encouraged many of hisstudentstodiscovertheboldand primalworldofthisisolatedisland. SeveralHenriprotegesfollowedthe master’ssuggestion,includingRock¬ wellKent,GeorgeBellows,andHop¬ per.

We know a good deal about the experienceofBellowsandKenton Monhegan; they wrote letters and booksdescribingtheislandandtheir rapturewithit,andtheymingled withtheislanders.InHopper’scase, nexttonothingisknown.HisMon¬ heganpaintingsarealldated19161919becausenoonehasascertained exactlywhenhewasontheisland andwhenhepaintedwhichpictures.

WhilewritingEdwardHopper’sNew EnglandIcalledGailLevin,aHopper expertandtheauthorofaforthcom¬ ingbiographyoftheartist,toaskif shehadinformationabouthisstays onMonhegan.Sherespondedinthe negative,notingthathehadleftlittle traceofhisvisits,saveforthemany marvelous oil sketches, most of whicharenowintheWhitneycollec¬ tion,donatedbytheartist’swidow, JosephineNivisonHopper.

Elsewhere,Levinhassurmisedthat theyoungpainterspentseveralsum¬ mers on Monhegan “no doubt to escapethetediumofhisillustration work.” A Maine newspaper quoted Hopperin1918assaying,“Maineis sobeautifulandtheweatherisso fine in the summer—that’s why I comeupheretorestandtopainta littletoo.”

Ontheevidenceoftheoilsketches he made on Monhegan, Hopper was quitesmittenwithwhathisclass¬ mateKentcalledthe“sea-girtconti¬ nent"wayoutintheAtlantic.He exploredtheislandshoreline,train¬ ing his eye on shadow configura-

tions,ongraniteoutcroppingsset againsttheblueorgrayofskyorsea; BlackHeadwasafavoritemotif.As arthistorianBruceRobertsonhas noted,notonlyarethesestudiesthe closestHopperevergottopainting abstractly,theyarealsothenearest hecame“todescribingtheenergyof thenaturalworld,ratherthanitssta¬ ticpresence.”

n the 1920s Hopper went on furtherpaintingexcursionsto Maine,includingonein1926 that landed him in the mid_JL coast city of Rockland. He painted much of the same subject matter he had been drawn to in Gloucester-—houses and boats— favoringwatercolortorecordhis surroundings.

Hopper’shousesareportraitsof architecturalpersonalities,usuallya bitdownontheirluck,althoughthe sunoftenbringstheirfacadesalive. Lookingatthesestudies,onerecalls Hawthorne’sprefacetoTheHouseof Seven Hables where he speaks of managinghis“atmosphericalmedi¬ um as to bring out or mellow the lights and deepen and enrich the shadowsofthepicture.”

Asiftoheightenabuilding’sper¬ sonality,Hopperoftenincludedthe nameoftheownerinhistitles.Tal¬ bot’shouse,thesubjectofa1926 painting(privatecollection),still standsinRockland.

AttheRocklanddocks,Hopperdis¬ coveredtrawlersandothervessels, fittingsubjectsforanartistwhoin hisyouthhadconsideredbecoming anavalarchitect.Hepaintedpulleys andcapstanswithasmuchcareas hedidcornicesandchimneys.Two ofhisRocklandwatercolors. The BowspritandOldBoardingHouse,are inthepermanentcollectionofthe Farnsworth Museum.

While he was summering in the Portlandareain1927,severalbuild¬ ingsinthecitystruckHopper’sfan¬ cy, including the Custom House (WadsworthAtheneum)andtheLib¬ by1louse(FoggArtMuseum),thelat¬ ter a mansion designed in the mannerofanItalianvillabyCon¬ necticutarchitectHenryAustinin the late 1850s. Now restored and renamed“VictoriaMansion,”theLib-

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byHouseexemplifieswhatonecritic hastermedthose“melancholyrelics oftheAgeofInnocence”whichHop¬ perwasconsistentlydrawntopaint. CertaincriticshavefeltthattheVic¬ torianhouseswhichHopperenjoyed paintingdidnotprovideaserious subject.Tothis,theartistrejoined that“thegreatrealistsofEuropean

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paintinghaveneverbeentoofastidi¬ oustodepictthearchitectureof theirnativelands.”

BythetimehevisitedPortland HeadandnearbyCapeElizabethin 1927,Hopperhadalreadypaintedhis fairshareoflighthouses,yetnone hadquitethedramaticheightand picturesquesettingofthePortland Head Light or Two Lights on Cape Elizabeth.

Hopperchosetopaintdifferent viewsoftheseimpressivebeacons, workingfromadistance,toheighten thepanoramicqualityofthesettings, andinclose,tofocusonadjoiningor nearbystructures.Thus,Lighthouse andBuildings,PortlandHead(Muse¬ umofFineArts,Boston)iscomposed inthemannerofapicturepostcard, whileCaptainStrout’sHouse (Wads¬ worthAtheneum)featuresthekeep¬ er’squarters,croppingthelight¬ houseintheprocess.WhenHopper paintedthelatterpiecein1927,the tenureofthelight’skeeper,Captain JoeStrout,wascomingtoaclose;he retiredfromservicethefollowing year.

Hopper’sviewsofTwoLightson CapeElizabethareevenmorevaried. Hepaintedthelighthouseseveral timesfrombelow,emphasizingits hill-topsetting,buthealsomade studiesofitsbase.Thearchitecture

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ofanearbyCoastGuardstationand whathecalled“thehouseofthefog horn”alsoattractedhim.In1929he paintedTheLighthouseatTtvoLights (MetropolitanMuseumofArt),anoil, perhaps his most widely known paintingofthissubjectasitappears ona1970U.S.postagestamp.

Some critics have read Hopper’s lighthousesasarchitecturalmanifes¬ tationsofthethemeofloneliness foundelsewhereinhisart.GailLevin evensuggestsapersonal—andphys¬ ical—relationshipbetweenartistand subject:“he[Hopper]wasnearlysix feetfiveinchestallandperhapsfelt aspecialaffinitytothisgenreof architecture,which,likehim,stood apart,detachedfromtherestofthe world.”Lighthousesarealsovisually arrestingstructuresand,quiteliteral¬ ly,housesoflight.Andlight,as AlexanderEliotwrote,“istheprotag¬ onistinallofHopper’sart,...Ameri¬ ca’scleanglareslantingfromhigh blueskies.”

IT opper eventually aban¬ donedMaineinfavorof _ Cape Cod. In a conversa¬ tionwithKatharineKuh __1_JJL publishedin1962,heex¬ plainedsomeofhisreasonsforthis move:“Ichosetolivehere[onthe Cape]becauseithasalongersum¬ merseason.IlikeMaineverymuch, butitgetssocoldinthefall.”

Hopperdiedin1967atage85inhis studioonWashingtonSquareinNew YorkCity.“Tome.”hesaidlateinhis life,“theimportantthingisthesense ofgoingon.Youknowhowbeautiful thingsarewhenyou’retraveling.”His sojournsinMaineandtheworkthat resultedtestifytotheaffinityhefelt forthestate.Morethansimplythe foundationforHopper’slaterwork, thesewatercolorsandoilshavean integrityalltheirown.Perhapsthe nexttimearoundtheWhitneyMuse¬ umwillseefittoacknowledgethis importantwork.Meanwhile,hasten tothePortlandMuseumofArtfora sizabletasteof1lopperinMaine.H

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TwoUp-and-ComingUSMArtists:

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ByGwenThompson

hat’syourfavoritecolor?”

To me this commonplace questionseemslikeanob¬ viouslyappropriateoneto ask two aspiring visual artists,butBertelleBrookingand Emely Jones—two USM students whosejoint“MattersofSpirit”exhi¬ bition at the Thomas Memorial LibraryinCapeElizabethjustclosed onSeptember2—bothprefacetheir replieswiththeastonishingobserva¬

tionthatnoonehaseveraskedthem thatbefore.

Asonemightguessfromhercloth¬ ing, Emely—a Lewiston native who nowresidesinCapeElizabethwhile shestudiesfull-timeforherB.F.A.— prefersthecolorstan,sanguine, sepia,white,andblack.Shefindsthat thesecolors—whichtoherreflect neutralityandaresomewhattenta¬ tive—prove most conducive to the vitalexploratoryaspectofthecre¬

ativeprocessasshehasdescribedit intheartist’sstatementforherre¬ centexhibit:“...thehungertolearn necessitates...awillingnesstoab¬ sorb...tobesiftedandfiltered,tobe actedupon.”

Bertelle,ontheotherhand(whois anotherCapeElizabethresidentorig¬ inallyfromBloomsburg,Pennsylva¬ nia) has been wild about magenta eversinceherCrayolacrayondays. This lifelong taste pervades her clothes,herhome,andherartwork, which often combines layers of brightcolorsandearthtonesontop ofeachother.“Idon’tknowhowto describeit,”sheconfesses,“except aslotsoflittlepiecescomingtogeth¬ erwithanemphasisoncolor.But otherpeoplecanidentifyadefinite styleinmywork,regardlessofthe medium.”

Bertelleespeciallyenjoyscollaging photographswithsculptures,color Xeroxes,andinkonMylarsothatthe differentmediaflowandmixtogeth¬ er.Atpresentsheisinvestigatinga ratherunlikelyalternativetopaper: cementtabletstowhichsheapplies clearMylarandphotographsincon¬ junctionwithcoloredpencils,pas¬ tels,watercolors,andgraphite.She mentions that many of her works focusonthemesofsocialissuesand familyrelationships.“That’sproba¬ blybecause1comefromaverylarge family,”shesurmises.“I’mtheeighth ofthirteenchildren.”Coincidentally, herowndaughter,Stephanie,began attendingUSMatthesametimeas her mother—another fascinating parallel. Natural places such as mountainsandbeachesthatarefree fromcrowdsofpeoplearealsoof greatconsequencetoBertelleandto herwork.

Emely,however,drawsinspiration not so much from whatever she’s lookingat,butratherfromherreac¬ tion to its correspondence with what’sinsideher.“I’dfeelthesame excitement about seeing curves, angles,massesofvolume,andtiny detailsanywhere,”shesays,“wheth¬ erit’soutatFortWilliamsorright hereinthisoffice.”Convincedthat artisanexactsciencethatmustbe painstakinglylearned,shebelieves thatheroriginalintent,thelabor itself,andthefinalresultareall

equallyimportant.Althoughshehas receivedthemosttraininginoils, Emelyhasrecentlynoticedthat“all thefascinatingpossibilitiesofusing theadditive(buildingup)anddeduc¬ tive (chopping away) methods of

DetailfromBerielleBrooking's Rage. sculptureindifferentmediakeep pullingatme.”

Despitetheirdifferentperspectives, bothwomenrealizedatanearlyage thatvisualartwouldalwaysbean essentialpartoftheirlives.Emely recallsvividlyherfirstrecognitionof artisticbeauty,whichoccurredwhen sheencounteredareproductionof Thomas Gainsborough’s Blue Boy hangingondisplayinarelative’s house when she was six or seven yearsold,andfoundherselfimmedi¬ atelycaptivatedbythesubject’slong hairandbluesatinclothes.Bertelle remembersthatasachildshewould invariablycolorin80-90percentof thepicturesinallofherfamily’scol¬ oringbooks,leavingonlyafewpages untouchedforherbrothersandsis¬ terstouse.“I’vealwaysbeendoing art,”shesays.“It’sthemostimpor¬ tantthinginmylife.”

Evidenceofherdedicationisvisible onamonumentalscalerightherein downtownPortland,whereshenum¬ beredamongthehalf-dozenpainters of TheBlueprinttrompe-Toeilat48 FreeStreetandwaslargelyresponsi¬ bleforapplyingthenow-familiarlogo

anddesignsthatadornthesideof DiMillo’sfloatingrestaurant.Other muralcreditsincludetheentranceto thePondCoveMiddleSchoolinCape Elizabeth and the Outward Bound ropescourseatWolfe’sNeck,and

her works have also appeared in numerousexhibitsatColbyCollege inWaterville,theUniversityofSouth¬ ern Maine, Bennington College in Vermont,andtheUniversityofMaine atOrono.

EmelyJones,M

“Thehardestthingformewasget¬ tingridofalltheart-worldmyths1 usedtobelievein,”shesays.“I thoughtallartistswerestarvingand crazyandcutofftheirears.Ididn’t haveanyrolemodelsofnormalpeo¬ plewhowereartistsuntilmyprofes¬ sorsinschool.”Althoughshenow knows of artists in Portland who

maketheirlivingsolelyasgallery artistsandartteachers,atpresent Bertellesupportsherpart-timestud¬ iesatUSMwithherownbookkeeping business,KettleCoveCurrency,an arrangementthatsheclaims“allows metousebothmyrightbrainand myleftbrain.”

Emely’s route was a little more roundabout.Afterthirty-eightyears ofteachingattheelementaryschool,

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Herilagc,byEmelyJones. secondaryschool,andcollegelevels, shedecidedthatshewanted“some¬ thingelsetodedicatetherestofmy lifeto”andwoundupwithslightly morethanshebargainedfor.“It’s taken over completely and really changedme,”shecommentsinwon¬ deranddescribeshernextprojectas iftoproveherpoint.Inspiredbyan art class in which the students’ workswereinfluencedbywhatthe teacherreadaloudtothemasthey painted, Emely now plans to try paintingwithherfingersoncanvas paperwhilelisteningtomusic.“Iusu¬ allylistentoclassical,”thesoft-spo¬ kenformerEnglishteachertellsme, “but1maytryhardrock—what’sit called,metal?—justtoseewhathap¬ pens!”

“Do you have any heavy metal?” Bertelleasks.

“Well...IguessJimMorrison’snot reallyheavymetal,ishe?”Emely admits.Inrecentyearsshehashad herworkexhibitedatColbyCollege inWaterville,atWolfe’sNeckFarmin Freeport,andattheUniversityof SouthernMaine.Particularlyunnerv¬ ingamongtheselectionsinEmely’s portfoliobyvirtueofthesomewhat uncomfortablejuxtapositionofcon-

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Detailfrom IEntitled, byEmelyJones. flictingemotionsitevokesisawork createdinthewakeofhermother’s death.Multiplephotocopiesofapho¬ tographofhermotherasafreshfacedeighteen-year-oldinthenineteen-fiftiesarescatteredinagridaroundadrawingofatwisted,supine skeletonthatappearstobeembrac¬ ingandkissingtheinnocentyoung girlinadecidedlyun-morbidmanner. Bertelle’sarttoohasbeentouched bydeath.Avastlycomplexmulti¬ media sculpture involving a sixpanedwindowwithphotosandcolor transparencies—includingoneofher nephew’s suicide note—welded to the metal frame, a mahogany desk andhand-hewnchair,arustingmet¬ albowl,anovalcarpet,cut-uppieces oftransparenciesthatresemblebro¬ kenglass,andadismantledtype¬ writerevolvedoutofherloss.“It definitelywouldn’tfitinatoneofthe touristtrapsintheOldPort,”she remarksdryly,andadds,“Ithink that,asanartist,it’syourownre¬ sponsibilitytogetyourstuffout there,butsinceyou’reinthedriver’s seat,youneedtopickandchoose yourgalleriesverycarefully.Ican

thinkofsomegalleriesintownwhere Iwouldn’twantmyarttobeshown.”

Inasimilarvein,Emelyvalueshigh¬ lytherecognitionandcritiquesshe receivesfromfellowstudentsand professorswhenherworksaredis¬ playedinpublic,butshecomplains that many potential buyers “just want something representational andprettythat’sallreadytohang overthecouch.”Sheisconfidentthat shewouldbegladifsomeonewanted topurchaseherart,but“I’dstillfeela littletugthatitwasgoing,likewhenI letmyboxerdogSiegfriedoffthe leashtoruninthewoods.That’swhy Idocumentallmyworksocarefully withphotographs.”

Bertelleisalsoabitdubiousabout partingwithanyofhercreations.“I’d wonder about where it was going, andifitwouldbetreatedaslovingly as1treatit,andvaluedasmuchasI valueit,”shemuses,thenlaughs, “But now I’ve done so much work that my pieces have outgrown my apartment,andIdon’thaveenough room to store them, so I have to hopepeoplewillstartbuyingthem!”

Shesold3thefollowingweek.I

We do not recommend Boon Islandasagetaway.The MobilTravelGuidegives BoonIslandzerostars.Do notthinkofgoingtoBoon Island.And,whateveryoudo,donot trytogoinsideBoonIslandlight.

Withthatsaid,werecentlywentout thereonamirror-flatseaoutofPer¬ kinsCove,Ogunquit,ina13-footBos¬ ton Whaler after some coffee and muffinsatUglyAnne’s,startingout justbefore9a.m.WiththeColony Hotelglimmeringtothenorthand YorkBeachsparklingtothesouth, youseeBoonIslandlikeagunsight oracipheronthehorizon.

First,youseeitlikealetterI.

Forthenext20minutes,itdoesn’t appeartogetanybigger,thoughthe CliffHousebehindyougetssmaller andNubbleLightrisescleartothe southonitsownpoundoftea.

Thenyougetthesenseofasmall red-roofedbuildingbesidetheBoon Islandlighthouse,aswellassome elevationtotherocksthatsupport the133-footunplasteredgranitecol¬

umn,thetallestinMaine.Still,every¬ thingisshadow-colored,likeadis¬ tantmountain.

Therearesomelobsterbuoys,yel¬ lowandwhite,placedateveninter¬ valsouthere,maybetocatcha7-lb lobstertobeplacedatthebottomof aNewHampshirerestauranttank.

TheFinestkindboatsoutofPerkins Harbordonotgoouthere.Thereis noreasonableapproachbyboatto BoonIsland.

Next the green-tinged pressuretreatedramprisesintoview,with seaweed-coveredrockscoveringits baseandwaterheavingstronglyup anddown.Youseehundredsofsea¬ gulls.Thereisnoshadehereandnot ahandfulofearthorasinglebladeof grass.IfyoumissBoon,yournext stopatthislatitudeisLaCoruna, Spain.

Aspindlegreetsusinfrontofa shoalthatextends100feettoward themainland.Atlowtidethereare obviouslybreakershere.Pullingour engineuptothetiltposition,werow in,scaredwiththeheavingatthe

end.Luckily,thetideiscomingin, butahandofwaterswellsandslaps visitors20feetclosertothebottom ofthepressure-treatedrampthan theywouldhavethoughtpossible. At the base of the wooden ramp, belowtheramp,isarustyone-foot verticalpole.

Starfishthesizeofyourhandare everywhereforthepickinginiodiny purplesandmagentas,thecolorof oldpostagestamps.Theoceanfloor isincrediblyclearhere.Sealssleep ontherocks,andbullsealschallenge yourboat.Thereare40or50visible mostofthetime.

Wescrambleuptheslipperybot¬ tomhalfoftheramp,withseagulls alreadywarningusnottogoanyfur¬ ther.Thenwedescendtotherocks onametalladderwefindatthetop oftheramp.Itishardtolookup, because seagulls are everywhere, angry.

Welookdown.Incracksofshade everywhere as we walk on the big rocksarebabyseagulls,lookingsoft andfuzzylikelittlegraykittens.Their eyes.

Andthereisanemptyseagullnest withasingleegginit,enormousand smoothinlightbrownmarblewith darker, espresso-brown speckles, beautifulandbigasaFabergeeggor aturkeyegg.Theseagullnestis12 incheswideand4inchesdeep,made ofstraw,seaweed,oldfishnetsin greens and reds, and dried bones andfeathersfromotherbirds.

All manner of deepwater fishing gear,lobstertraps,andlobsterbu¬ oyshavewasheduponBoon.Itis MADLYALIVEwithgulls,unsettlingly lunaticwithgulls,butthereareno otherbirdsoutsidethelighthouse.It maynotbetheEarthbeforeGod,but itistheearthbeforeman.Thereisno droppedtrashonBoon,otherthan bythesea.ThereisnofoodonBoon. TherearenomachinesonBoon,oth¬ erthanthoserunbythesun.There isjustagianthumwhenthesolar timerturnsonlightsthatcouldblow outthebackofyoureyes. ThereisnograffitionBoon. Boonisaspacestationwhereev¬ erywherethereisthefeelingthat MAN DOES NOT LIVE HERE. Makingyourwaypasttheconcrete rubbleofanoldblockhouse,andthe

brickrubbleofanotheroutbuilding, bothcubessmashedbystorms,you head toward the bottom of Boon IslandLight.

Thetoweriswideratthebottom, the entire thing made of granite blocks.Youdescendandseeagray ship’sdoor,dogged,atthebase. Abovetheovaldoor,carvedinthe granite,isthedate1854withtherem¬ nantsofcream-coloredpaintonit.

Fromhereyoucanseetheghost imageoftheIslesofShoalstothe south, sometimes there and some¬ timesnotthere,thehousesonApple¬ dore marching toward you some¬ timeswithanoddclarity.

Butallyouhearisthemurderfren¬ zyofthegullsandthetimedmoanof thefoghorn,whichsitsontheone utilitybuildingstillintact,powered byalargesolarcollectorfacingthe sunwithascreenthesizeoftheold LyricTheater’sprojectionscreenin Kennebunkport.

Thereisabrasslockthroughthe haspsonthegrayship’soval,open.

Undogging the door, you stare insideandshout,hopingtoscare awaybirds,bats,orwhoknowswhat maybeinsidetheunmannedstruc¬ ture.Instead,itisbeautiful,witha wrought-ironspiralstaircaseswirling againandagainandagainandagain insidethered-brickedinsidestothe top.Ahelpfulropeguidesyou,butit issodizzyandscaryyousoonfind yourselfholdingontothenextstair andtheroperailsothatyoursenses don’tbecomeunhinged.Thestair¬ caseisnotdrabbutisratherornate—not New Orleans but not bare utilitarian,either.Itisbeautifulon theinside,andstrange.Theredbrickedinnerwallshavebeenmor¬ taredwithconsiderableartistry.

Dead songbirds-not ocean birds¬ andsmallbirdsatthat,greetyouon someofthestairsandoneveryinter¬ mediatelevel,ofwhichthereare three.Theyareblueandgreenas hummingbirds.Wheredidtheycome from?Isthiswhereallthecanaries go when they escape from their cages?Attheselevelstherearewin¬ dows,butyoucan’tseeoutofthem becausetheyaremadeofmilkglass blockslikeatadoctor’soffice. Theswirlscontinue.Ittakesthree timestheclimbingyou’dthinktoget

tothetop.Youdon’tdaretolook down.

Lookingup,youperspire,feeling trapped.Thereisnowaytoseethe top.It’sjustdarkforseveralrevolu¬ tionsandthenamilkybrightness appearsasyougobythenextwin¬ dow and see your next dead song¬ bird.Youcontinueskywardasyou feel your soul flattening. You shouldn’tbeinhere,ever,youcon¬ vince yourself. More people have beentothetopofEverestthanthe topofBoonIsland.Whowouldfind you?Thereisnosigntellingyounot togoin,butthisisjusttooodd,and thisisobviouslynotaluckyisland.

Afterall,isthisnotthesightofthe 1710wreckoftheBritishmerchant¬ manNottingham,where,strandedfor overamonth,afreezing,starving crew,infullviewofMt.Agamenticus, Ogunquit, Kennebunk, and York Beach,ateTom,theship’scarpenter, astoldinKennethRoberts’sgrizzly novel,Boon Island? What’s wrong withthisplace,anyway?

Whywouldyouwanttovisitaplace soremotethattwolighthouseshave beendestroyedherealready,in1805 and1831?

And why did a deer swim all the wayoutheretwoyearsago,8miles fromshore?

Something keeps you going, but fortunatelynotthe70-footwaves thatchasedthelastlighthousekeep¬ ersupthesestairsduringthestorm ofFebruary,1978,whentheywere rescuedbyCoastGuardhelicopters atthetop(Boonhasbeenfullyauto¬ matedsince).Youcontinueswirling, atlengthtofindanironlevelpainted graywithablackdoorthatdogsand undogsfromtheinside.Openingthis door,yougetablastofairfrom133 feet.Theironrailingthatsurrounds thetopofthelighthouseisaccessi¬ ble from here, but who knows how rustyitis?Isupposeyoucouldwalk arounditifyouwerecrazy.Itisthree feethighorso,andpaintedblack.It does not seem in good condition. Lookingdownfromthisheight,your boatappearsasaspecksurrounded by Bermuda water, the rocks and sandturningitturquoise,andsud¬ denlyvertigosetsin,thewholelight¬ houseleaningthiswayandthatin yourhead.

Thisfeelingmayalsobeencoun¬ teredwhiletouringtheupperfloors of The Breakers mansion during a thunderstorm in Newport, Rhode Island,apharaonicbeautyandper¬ spectivepeopleprobablyshouldn’t havetriedtocreate.Yourheartbeats fasterasyoushutthedoor.Thereis nowaytogobutupnow.Onemore halflevelandyoupullyourselftothe raillesseyeofBoonIsland.Youare sohighnowthatyouareafraidto lookout,afraidtoleaveyourstom¬ ach,afraidthesheerterrorofthe perspectivewillgrabyouandthrow yououtthewindow.

Thisistheplacewhereyoubeginto hallucinateandbegintobelievethat thelighthousecanleanorfallover becauseyouareinit.Thisisthelone¬ lylittleplacewherethemetalflooris Navygray,andthereisasound-pow¬ eredphoneinitconnectedto... where?

Youdarealook,flatonyour chest.ArushofMountAga¬ menticus and dizzy hotels searsthroughyourhead,with wavestooterriblyfarbelow. Youflattenoutmore.ThereisNew HampshireandYorkBeach.Thereis Ogunquit.Youforgettolookdownto seeifyourboatisfloatingawayas youstareupatthealuminumshaftin thecenter,supportingthelight.It’s notabigFresnellensbuta4-sided quartzilluminatorthatflashesevery fiveseconds.Visiblefor19miles,this high-techwonderisbarelylarger thanaOuijaboard.Theglassuphere is VERY thin, thinner than house glass,andthisrealizationagainin¬ ducesasenseofmotionthatmakes youfeelasifyou’vestowedawayin thebaggagecompartmentofaC-47 flyingtheHump.Yourbodyandkid¬ neysaretellingyoutogodownthe stairs,fast,butyoustayandreada skullandcrossbonessignuphere thatsays,“Danger.Ifyoutouchthis light,itwillblowup.”

Light in your head, you have to holdthedevilinsideyoufromreach¬ inguptowardit.

Thankfully,youstopyourself.The dangerhastodowiththeoilonyour hands.Itfocusesthelightwherever you’ve touched it, and...boom. ■

MargairelClkaseSmiE

Story&PhotosByKevinLeDuc

allisoneoftheloveliesttimes of the year. The leaves are suchabrilliantorange.Iwish they would stay another month,butIwillbehappyif they stayed just one more week,” saysSen.MargaretChaseSmithas shesipssomecoffeebesidemein her Skowhegan home.

Looking up from my notes after learningsadlyofherdeathonMay 29,1995,1realizedthatfatehadcon¬ ferreduponmeoneofthelast,ifnot thelast,interviewsandphotoses-

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•orprofessionally manaae vnnr ., sionswithMaine’sdignified,silverhairedformersenatorduringthelate daysofOctoberlastyear.Everything becameimportant:ourtalkaswesat nexttoanoversizedpicturewindow inherlivingroom,overlookingthe birchtreesinherbackyard,ourchat about the deer delighted her by appearingnoiselesslyjustafewfeet awayoutsidetheglass.

Self-describedasa“headlineread-

thaninside.”Shelovedtoreadnews¬ papers,andasayounggirlSmith oftenwentto“visitmyfather’sbar¬

bershopandtotowntopickupa nationalorforeignpaperatthenews¬ stand.1alwayswasinterestedin whatwasgoingonintheworld.1 readanythingIcouldgetmyhands on,”shesaid.

BornDecember14,1897,Smithwas theeldestofsixchildren.At12she began working at a five-and-dime store“tohelpbringmoneyintothe family.”Inherteenssheplayed“a

campaigning beside him won elec¬ tiontoCongressin1936.Afterhis victory,Mrs.SmithmovedtoWash-

ington,D.C.toworkwithherhus¬ band as his executive secretary. Then,nearlyfouryearslater,the congressman,23yearshersenior, unexpectedlysufferedaheartattack. Mr.Smith’slastofficialactoccurred from his death bed when he peti¬ tionedhissupportersbyletterto electhiswifetoserveoutthere¬ mainder of his term. The even¬ inghesignedtheletter,hedied.

SouthPortland) • Pond Cove 1GA

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FURwiture rACTORy

InJune,1940,42-year-oldMargaret Chase Smith became one of Ameri¬ ca’sfirstwomancongressionalrepre¬ sentatives,launchingacareerin publicservicethatwouldspanthree decades.

After serving four terms in the House,Smithturnedherattentionto becoming the first woman to be electedtotheUnitedStatesSenate.

“IbelievedtheSenatewasthegreat¬ estdeliberativebodyintheworld, anditwastheplacetogetthings done.1hadsomethingsinmindthat Iwantedtodo,sotheSenatewas whereIwantedtobe,”shetoldme.

SmithwonherbidforMaine’sSec¬ ondDistrictSenateSeatinNovem¬ ber,1948.Eventhoughshehandily defeatedheropponents,includinga former governor, she received no support from her own Republican Party.Infact,theconservativelead¬ ership began an active campaign againsther.WhenRepublicansfailed to stop her from running, they accusedherofbeing“tooliberal” and“circulatedtherumorthatthe Senate was no place for a woman, andthatMargaretChaseSmithwas beingoverambitious,”shesaid.

During her freshman term, she spokeoutagainstMcCarthyismeven whenotherAmericanleaders,includ¬ ingPresidentDwightD.Eisenhower, saidnothing.

For24yearsMrs.Smithshouldered theoddsandthroughoutshespoke herheartfeltbeliefs.Sheearnedthe title“MotheroftheWaves”whenshe securedwomenpermanentstatusin theUnitedStatesMilitary.Ourna¬ tion’sdreamoflandingthefirstman onthemoonin1969mayneverhave beenrealizedifMrs.Smith’sworkas achartermemberoftheSenateAero¬ nauticalandSpacecommitteedidn’t getNASAofftheground.

Asthedynamicforceofhercharac¬ terwasfeltaroundtheworld,Ameri¬ cans watched Mrs. Smith on tel¬ evisionasshevisitedinthehomesof commonfolkfromEnglandtoJapan. Shegaveawayboxesoflollipopsto allthechildrenshemetalongher travelswhilesheinterviewedre¬ nowned leaders such as Winston Churchill,CharlesdeGaulle,andChi¬ angKai-shekonthenationallytele¬ visedprogram“SeeItNow”in1954.

OnJanuary27,1964,Sen.Margaret ChaseSmithbecamethefirstwoman inAmericanhistorytorunforthe presidency of the United States. “Becauseoftheseverycompelling reasonsagainstmyrunning,Ihave decidedthatIshall,”shesaidina speechgivenattheWomen’sNation¬ alPressClubbanquet.Enteringthe Republican Convention at the Cow PalaceinSanFrancisco,California, MargaretChaseSmithhad27dele¬ gatespledgedtonominateherasthe party’scandidateforPresident.She finishedsecondonlytoBarryGold¬ water.

OverthecourseofherlifeMargaret Chase Smith earned more than 270 awardsandhonors.Shereceivedthe VeteransofForeignWarsMedalfor Americanism in 1954; she won the UnitedStatesSenate’sSenateService Awardin1973;shewastheAssociat¬ edPressWomanoftheYearinPoli¬ ticsin1948,1949,1950,and1957.In 1967shewasappointedOneofthe TenMostInfluentialWomeninthe World by the UPI. Mrs. Smith was given the League of Woman Voters CarrieChapmanCattAwardin1992, andbecauseshe“greatlyinfluenced the development of our country’s postwarforeignanddomesticpoli¬ cies”shewasgiventhenation’shigh¬ estcivilianhonor,thePresidential MedalofFreedombythen-President GeorgeBushin1989.

Ninety-Fivehonorarydoctoralde¬ greesenshroudthelibrary’sceiling, ascollegesanduniversitiesfrom aroundthenationlikeBowdoin,Wes¬ leyan, and Columbia proudly show theircolors.Therearemorethan500 volumesoftheformersenator’sper¬ sonal scrapbooks as well as more than 43 volumes of Mrs. Smith’s speechesandnewsreleases.

Alifesizemannequinoutfitsablaze orangejumpsuit,accessorizedwith thehighheelsshewore,whenshe climbedintoaUS.AirForceF-100Jet tobecomethefirstwomaninhistory tobreakthesoundbarrier.There’s also memorabilia of her voyage aboardtheUSSPermitasshebecame the first woman to set sail in a nuclearsubmarine.

Aglasscasechroniclesher1964bid tobecomethefirstwomanpresident inAmericanhistory.Thecasecon-

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tainsherhorn,atootibag,aminia¬ turerose,andcampaignbuttonsthat read“VoteMargaretChaseSmithfor President.”Detailsofherfamous “DeclarationofConscience”speech lineawall.TheheadlineoftheJune6, 1950issueofthe WashingtonDaily News reads,“Senatehasbecomea ‘Forum of Hate’ Senator Smith charges.”

“1wasbotheredagreatdealabout what was going on with Joseph McCarthy.Iknewhewasrestlessand wantedtomakeasplashinthesen¬ ate,buthehadlittlesuccess.He talkedandtalkedabouthislistof names,andheaccusedgoodpeople ofbeingcommunists,”shetoldme.

One day when the “Lady from Maine”enteredthesenatechamber, shefound“thesenatorfromWiscon¬ sinattackingcolleagueaftercol¬ leagueonthesenatefloor.Hekept goingonandon,attackingprominent menandwomenallacrossthecoun¬ try.Well,Isteamedaboutitforsever¬ aldays.Iwasverykeyedup.The peoplehewasattackinghadnoway todefendthemselvesortogetback athim.Ithoughtitwasunfair.”

Inthespringof1950,theformer senatorwasenteringthesecondyear ofherfreshmanterm.Atthetimeit wascustomarythat“freshmensena¬ tors be seen and not heard,” and MargaretChaseSmithfollowedthat rule“verycarefully,”buttherhetoric and smear tactics of McCarthyism soonbecameintolerable.“Myassis¬ tanttoldmethatifIfeltsostrongly aboutwhatJoeMcCarthywasdoing, thenIshouldsaysomething,”she said.

Mrs.Smithknewifherintentionsto speak against Mr. McCarthy “got out,”shewouldbestopped.“Ifelt that1couldn’tsayanythingunless1 tookapublicstance,andthatwasn’t what I wanted.” What Margaret ChaseSmithwantedwasto“getback atthepeopleinthesenatewhowere spreading fear and intimidation, especiallyMr.JosephMcCarthy,”she said.

Sen.Smithtookhercarefullyguard¬ edsecrettousetheSenate’spodium to “get back” at Joseph McCarthy withhertoMaine.“Ibegantothink about what I wanted to say, so I penned a few words I had in my

mind.Ididthattwoorthreetimesin thecaraswedrovehometoSkowhe¬ ganforMemorialDayweekend,and asIwentalongIbegantoputthe wholespeechtogether.”

Sen.Smithpreparedherfirstad¬ dresstotheSenate,the“Declaration ofConscience,”withherassistant William Lewis in between public engagementsovertheholiday.“1fin¬ ishedwritingthespeechlateinthe eveningathomeinmybed,”shetold me.

On the morning of June 6, 1950, JosephMcCarthyandMrs.Smithsat togetherandchattedastheyrode thesubwayfromtheirofficestothe SenateonCapitolHill.Alongthe route,McCarthycommentedtoSen. Smith about how “solemn she looked”andthenaskedher,“What areyougoingtodo?”Shereplied,“1 amgoingtomakeaspeech,Joe,and youarenotgoingtolikeit,”shesaid inanearlierinterview.

Feet away, Joseph McCarthy sat silentlyholdinghisfaceinhishands ashelistenedtothewordsofMar¬ garetChaseSmith:“Ibelievewithall myheartthatwemustnotbecomea nationofmentalmutesblindlyfol¬ lowingdemagogues.Ibelievethatwe should never become mental mutes withourvoicessilencedbecauseof thefearofcriticismofwhatwemight say-Thoseofuswhoshouttheloud¬ est about Americanism in making characterassassinationsarealltoo frequentlythosewhoignoresomeof thebasicprinciplesofAmericanism: “Theexerciseoftheserightsshould notcostonesingleAmericancitizen hisreputationorhisrighttoaliveli¬ hoodnorshouldhebeindangerof losinghisreputationorlivelihood merelybecausehehappenstoknow someone who holds unpopular be¬ liefs.Whoofusdoesn’t?Otherwise, noneofuscouldcalloursoulsour own. Otherwise thought control wouldhavesetin.”

Aftershefinishedherspeech,Sen. Smithwaitedforareply,butnone came. A devastated Joseph Mc¬ Carthysimplysatinhischair.Afew momentslater,hesilentlywalkedout ofthesenatechamber.

Margaret Chase Smith was highly respectedonCapitolHill.Shebe¬ cametherankingRepublicanonthe

KIRSTEN SCARCELLI

lems-people are toobusytolearn what’s going on aroundthem,”shesaid.

Whatisthemostexcitingthingthat hadhappenedtoyouinyourlife?1 asked. “There have been so many interestingthingsthathavehap¬ pened to me over my career. It’s alwayshardformetochoosejust one,but1wouldsay,thatbeingthe firstwomantosailinanuclearsub¬ marine,andbreakingthesoundbar¬ rierwereacoupleofmyfavorites,” shesaid.

So then, what was breaking the sound barrier like? 1 wondered, awareofhowoddlyfascinatingthat soundedhereinnorthernMaine.“1 don’tliketosaydisappointing.I thoughtitwasgoingtobeveryexcit¬ ing,rumbling,alotofnoiseandthat kindofthing,anditwasjustlikeIwas goingacrossthestreet.Itwasnotas spectacularasIthoughtitwouldbe. Wewentupinashotandflewback andforthacrossthecountry.Itwas excitingandveryinteresting,of course,”understatedthecourageous Senator with the red rose. H

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SenateArmsServicesCommitteeand setanexampleforallAmericanlead¬ ers when she made her historic 2,941st.consecutiveroll-callvotein 1968.Mrs.Smithhadareputationas arealwatchdogonhowthenation’s defense dollars were spent. She alwaysmadesurethecountrygotits money’sworthoutofthemilitary, anditwasnotunusualforherto show up at a base for an unan¬ nounced inspection. She won the admirationofallhercolleagues,and over the years Democrats and Re¬ publicans alike have come to her Skowheganhomeforguidance.

Margaret Chase Smith was quite proudofherlifeaccomplishments andseemedtobeparticularlytickled aboutherlibrary.Mrs.Smith’sefforts tohavetherosenamedthenational flowergavCTierTLgreatdealofjoy. Everydaysheworeafreshrose,just asshedidintheSenate,andaswe talkedavaseofrosesadornedthe endtableinherlivingroom.

Builtin1948,Mrs.Smith’shomesits onthetopofahilloverlookingthe Kennebec River in Skowhegan. She oftenwatchedfromherpicturewin¬ dowasmooseanddeercrossedover herlawnontheirwaytothewater foradrink.“Theycomefromaround the side of the house and walk aroundtheyard.Theyaresuchlove¬ lycreatures.”shesaid.

Mrs.Smithwasremarkablyaccessi¬ ble.Shekeptalistedtelephonenum¬ ber,andshealwaysinvitedfriends andstrangersalikeintoherhome. “People from around the country knowthatMaineiswhereIHve.They callbecausetheyhaven’tsconmefor awhileandtheywonderwhatIam upto,sotheycomeheretofindout what’sgoingon.”

Duringhertimeassenator,Mrs. Smith“thoughtnothing”abouthav¬ inggroupsoffriendsovertoher housefordinner.

“1usedtokeephouse,andIlovedto entertain.1cancookmostevery¬ thing.,”andalthoughshewasn’ta “bigpastryeater,”shealwayshada cake,orapie,orcookiesonhandfor visitors. “My nieces and nephews usedtocallmethe‘GreatCookie Lady’ because when they came to visitIwouldbakethemcookies.I didn’tbakeanyspecialkind,”she

smiled.Theywereluckytogetsome cookies!”

Everydayshewasdoingsomething different,fromattendingtheGover¬ nor’sEconomicConferenceinBan¬ gortotalkingtoclassesofschool children.“Idon’tthinkanyonehas anyideahowbusyIkeep”shesaid. Sen.Smithawokeeverydaybefore6 a.m.,did“hermorningroutine,”read the newspaper, and drank her two cupsofcoffee.By7shewas“readyto go,”shesaid.

Onthedaywetalked,Mrs.Smith hadseenahalfadozenpeopleandit wasonlyoneo’clockintheafter¬ noon.Sheroutinelyretiredtobed between9andmidnight,butadded,

“JustbecauseIaminbeddoesn’t meanIamsleeping.”

Mrs.Smith’sbusylifestylealways keptheronthemove.Fromvisiting local Skowhegan restaurants and “signingplacemats”foranytourist thatasked,totakingherfirstsnow¬ mobile ride when she was ninetytwo,shelovedtotravelthroughthe stateshelovedintheCadillacthat Skowhegan residents had grown to love. She owned a summer home on a“lovelyspot”inCundy’sHarbor, buttheLadyfromMaine,who“liked chihuahuas,”nevertookavacation, and never lived anywhere except Skowhegan.“Ididn’townahousein Washington,DC.,likealotofother senators. I always came home to Maine,”shesaid.

MargaretChaseSmithdidn’thavea mentoror“anyonehobby”-sheliked todoalotofthings.“1wasverybusy, and1didmanythingsontherun.Per¬ hapstherewasapersonortwothat 1wouldpayattentiontofromtimeto time,butno,Iwasageneralist,which

1don’tadviseforanyone.Ithinkit’s badbusiness.1listenedagreatdeal to what people had to say, and thoughtthingsover.Iwasalwaysa greatnewspaperreader.Keepingup withthenewsisstilloneofmymost favoritethingstodo,”shesaid.

Mrs. Smith was quite “troubled” abouttheclimateinAmericatoday because,“Peoplearenottakingan interestinourcountry,and1don’t thinkourpoliticalleadersaretaking theirroleingovernmentasseriously asIbelievetheyshould.1believethat ifaleaderhassomethingtosay,they shouldsayit,ratherthanintimating itallthetime.Iamnotsureifpeople aretakingseriouslythepoliticalsitu¬ ationinourcoun¬ try.Ihavegivenit a great deal of thoughtandIam stillnotsurethat citizensandpoliti¬ cians vote their convictions.May¬ betherearetoo many headline readers. That’s one of our problems-people are toobusytolearn what’s going on aroundthem,”shesaid.

Whatisthemostexcitingthingthat hadhappenedtoyouinyourlife?I asked. “There have been so many interestingthingsthathavehap¬ pened to me over my career. It’s alwayshardformetochoosejust one,butIwouldsay,thatbeingthe firstwomantosailinanuclearsub¬ marine,andbreakingthesoundbar¬ rierwereacoupleofmyfavorites,” shesaid.

So then, what was breaking the sound barrier like? I wondered, awareofhowoddlyfascinatingthat soundedhereinnorthernMaine.“I don’tliketosaydisappointing.I thoughtitwasgoingtobeveryexcit¬ ing,rumbling,alotofnoiseandthat kindofthing,anditwasjustlikeIwas goingacrossthestreet.Itwasnotas spectacularasIthoughtitwouldbe. Wewentupinashotandflewback andforthacrossthecountry.Itwas excitingandveryinteresting,of course,”understatedthecourageous Senator with the red rose.

GALLERY

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CAFE STROUDWATER is an uncommon hotel dining room.Itisapleasantroom situatedoffthebusymain lobby,nicelybufferedfrom thenoise.Themenuselections concentrate on American stan¬ dards,featuringnativeseafood andprimecutsofmeat,butthe chef has added many creative touchestotakethisrestaurant beyondtheordinary.

Oncewehadordered,ourserver broughtusthechef’sdailyamusee, a mushroom ragout of choppedmushrooms,garlic,and oilservedonacracker.Forappe¬ tizers,weorderedlobsterwon¬ tons($6.95)andMainecrabcakes ($5.95).Shredsoflobstermeat wrapped in wonton skins and lightlydeep-friedwereservedona redpepperrelishsweetenedwith molasses.

Thecrabcakeswerelightand moist,withplentyofcrabevident andjustenoughofacrumbmix¬ turetoholdthemtogether.They wereservedwithadijonmustard saucethatwaspleasantlyhotwith asharpbite.

Abasketofwarmbasilfoccaccia, anItalianflatbread,appearedwith oursalads.Crisp,variedgreens formedabedforabrightassem¬ blageofvegetables,alldressed withalemon-thymevinaigrette.A veryrefreshingcourseonahot summernight.

Forentreesweorderedtheroast rack of lamb ($19.95) and the shrimp and lobster napoleon ($20.95).Thislastisoneofthe chef’s more inventive seafood treatments-thin,grilledeggplant sliceslayeredwithfreshshrimp andlobstermeat,goatcheese, roasted red peppers and fresh

tomatoes,servedoveratomato coulis.Therackoflambwasper¬ fectlydone,asrareas1hadasked, crustedwithdijonmustard.Itwas servedwithanapplechutneythat wasfresh,tart,andcrunchy.Our entreeswereservedwithscallionmashedpotatoes,slightlylumpy andgreattasting,andsauteedveg¬ etables.

Cafe Stroudwater has a good beerselectionwithmanylocal brews represented. My compan¬ ionchoseabottleofGritty’sBest Bitters($3.25).Thewinelistoffers abroadselection,mostlyinthe $18to$35range.Fivewhitesand4 redsareavailablebytheglass.I chose a Wolf Blass Chardonnay ($5.25)withmyappetizerandan ’89RosemountShiraz($4.95)to pairwiththelamb.Bothcomple¬ mentedthefoodextremelywell.

Portionsaregenerous.There¬ fore,wehadlittleroomfordes¬ sert,butneitherofuscouldresist the chocolate amaretto mousse ($5.50)withourespresso.Served withalightraspberrycoulisand freshraspberries,itwasdense, rich,andsatisfying.

Presentationplaysanimportant role at Cafe Stroudwater. Our plateswereallbeautifullycom¬ posed,asappealingtotheeyeand noseastothepalate.Serviceis professional,helpful,andveryun¬ obtrusive.

CafeStroudwaterhasalsobeen hostingaseriesofwinetasting dinners.Thesegivethechefmore creativespaceandofferafine showcaseforhismanytalents.I

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The only Afghan Restaurant in New England is located right in the heart of the Old Port at 88 Exchange Street, where the Habibzai family brings traditional Afghan cuisine to Portland using ingredientssuchasBasmatirice.lamb,chicken,beef, spinach, eggplant, green beans, and pumpkin. The results—includingvegetariandishes—aredelicious butnottoospicy,andattractcustomersfromasfar away as Boston and Bangor. The Afghan Restaurant hasreceived3-1/2starsoutoffourand“TheBest Ethnic Food" award from CascoBayWeekly. 7733431.

Aharn Thai Restaurant, One City Center. Formerly known as Thai Garden Restaurant, the finest Thai restaurant in Maine is now open under new management with a new reduced-price menu. SpecializinginauthenticThairecipespreparedbyan experiencedchef,AharnThaiRestaurantisopenfor dinner seven days a week with a lunch buffet Monday-Friday.Catering,take-out,andfreeone-hour parking at One City Center Parking Garage are available.Makesureyoutrytheircoconutsoup!For reservationscall772-1118.

Amigo's opened in 1973 on Commercial Street and moved to 9 Dana Street in 1980 after a fire. They came from the Southwest to open Portland’s finest MexicanrestaurantintheOldPortandwanttothank youforyoursupportforthepasttwenty-oneyears. 772-0772

The Audubon Room at the Inn by the Sea on Route 77inCapeElizabethcombinesbreathtakingviewsof theAtlanticOceanwithculinarymasterpiecesthat feature fresh local produce, native seafood specialties, and exceptional homemade breads and desserts prepared on the premises. Some house favoritesincludeGrilledSalmonwithanOrangeBasil Vinaigrette, Sauteed Oysters with Porcini and Champagne, and Lemon Custard Tart with Maine Blueberries.Patiodiningandcarry-outavailable.7670888.

Known for its fine service and ambience. Baker’s Tableat434ForeStreetand41WharfStreetisan intimatebistrocompletewithanoutdoordeckandan open kitchen that has been serving up lobsters, shellfish,andfreshfishforover25years.Primebeef and Idel mignon are cooked to perfection, and you can also sample fresh pastas, special vegetarian dishes.Tex-Mex,andethnicdishes.There’safullbar andwines,andafullbakerywithdailybreadsand desserts,aswellasgreatdailysoups,salads,and sandwiches served from 10 a m. to 10 p.m. Special Comedy Connections Dinner Packages are now available.Call773-0303.Faxorders:761-4444.For parliescall773-3333.

Carbur’s Restaurant offers great food in a casual and relaxed atmosphere. Take some time to enjoy yourfavoritecocktailorsoftdrinkasyoureadover the extensive menu with selections ranging from TeriyakiSirloinorChickentoFish'n’ChipstoStuffed Potatoes,nottomentionthemunchiesandsalads.If it’sasandwichyouseek,you'vefoundtherightplace: over 70 outrageous "Grandwich" combinations are available.123MiddleStreet.Portland.772-7794

David's Restaurant at the corner of Market and Middle Street in Portland's Old Port boasts a constantly changing, four-star menu of eclectic AmericancuisinewithaFrenchtwist.Experiencethe unique and original chef’s creations, divine luncheons, exquisite Sunday brunch, and extensive winelist.Open11:30-9:30weekdaysand11:30-10:30

weekends.164MiddleStreet,Portland.773-4340.

WelcometoF.ParkerReidy's,siteoftheoriginal PortlandSavingsBankbuiltin1866at83Exchange Street.Establishedin1976duringtheRenaissanceof the Old Port area, F. Parker Reidy's has become a Portlandfinediningtradition,specializinginsteaks and fresh seafood, with prime rib featured on weekends. Turn-of-the-century decor, personalized service,andgreatfoodcreateawarmandcongenial atmosphere popular for both business and intimate dining.773-4731.

Head over to Fresh Market Pasta at 43 Exchange Street/60 Market Street for the best homemade pastas and sauces in Portland, not to mention a varietyoffantasticItalianbreads,Italianwineand beers, espresso, cappuccino, biscotti and other deliciousdesserts.Bringthewholefamilyforlunch, dinner,andlatenightdining.Call773-7146.

DeepintheheartofthemysteriousWoodfordsarea at540ForestAvenueisTheGreatLostBear,where you’llfindafullbarfeaturing50(that'sright,five-o) draught beers, predominantly from local micro¬ breweries. Accompanying them is an enormous menu witheverythingfromsoups,salads,andsandwiches to steaks and ribs, as well as a large vegetarian selectionandthebestnachosandbuffalowingsin town. Discover where the natives go when they're restless!Servingfrom11:30a.m.to11:30p.m.seven daysaweek.772-0300.

G'Vanni’s,34WharfStreet.Portland.“TheViol,The Violet and The Vine..." — Edgar Allan Poe. At G'Vanni’syoucanhaveitall:superbItaliancuisine, art,finewines,romance,discriminatingdesserts, mesmericentertainment,aperitifsextraordinaires, muse-ic.CampoutatG'Vanni'a.775-9061.

ThedinerisrebornintheOldPortatHomePlate.5 DanaStreet,Portland.Surroundedonallfoursides byagiantwallmuralofaYankees-RedSoxgamein the1940s.familiescandineoutaffordably,business people can take advantage of lunchtime soup and sandwichspecials,andthoseonalatenightoutcan dropinanytimefrom11p.m.straightthroughto3 p.m. Thursday-Saturday. Of course they serve ballpark food, with lots more besides, including breakfastalldayfrom5:30a.m.to3p.m.761-9567.

AttheMarketStreetGrilleinthePortlandRegency Hotel, spectacular cuisine, Old Port charm, and impeccableservicecometogetherinanelegantyet casualenvironment.Alongwithdailyfreshspecials featuringfoodsfromlandandsea.theGrille'schef preparesunforgettablefeastslikeSeafoodFettucine withlobster,shrimp,andmussels:BakedLobsterwith seafoodstuffing;SteakDianeTenderloin;andVeal Scaloppini.Visit31MarketStreetforbreakfast,lunch anddinner.Reservationsaccepted.774-4200.

Winnerofthe PortlandPressHerald’s “Maine'sBest Pizza"People’sChoiceAwardforfouryearsrunning, Ricetta’sBrickOvenPizzeriaistrulyatasteofthe OldCountry.M.E.Curlyofthe PPH raves:“Ricetta’s isarguablythebestpizzawestofRome."Dine-in, take-out.orfreedeliveryavailable;all-you-can-eat gourmetlunchbuffetincludespizzas,pastas,soups, and salads. With their newly expanded dining room youwon'thavetowaitalifetimeforthebestmealin town.Locatedat29WesternAvenue.SouthPortland. 775-7400.

SaigonThinhThanh,608CongressStreet,Portland. JustacrossCongressSquarefromtheSonestaHotel

APortland DiningGuide

and the Portland Museum of Art is Maine's-and probably New England's-finest Vietnamese res¬ taurant.Four-star,spicy,exotictastesjumpfromthe deliciousfish,pork,shrimp,andscallopdishesthat include Vegetable Sate Rice Vermicelli, Beancurd withGarlicRiceVermicelli,ScallopswithSnowpeas, andextraordinarycurriesandspecials.773-2932.

Freshlobsters,shellfish,salmon,andlocalfishhave been specialties at the historic Seamen’s Club for overthreegenerations,whileagedbeef,primerib, quiches, fresh pasta, vegetarian and southwestern selections, home-baked breads and desserts, and freshfruitsandvegetablesroundoutthemenu.The bestweekendbrunchesontheplanetincludesoups, turkey sandwiches, and salads, and a full bar is always available. The Lunch and “Lite" menus are served 11 a.m.-11 p.m. in a comfortable setting overlookingtheharborat1ExchangeStreetand375 ForeStreetinthehuboftheOldPort.Call772-7311. (For banquets and meetings: 773-3333—no room chargesever!)Faxorders:761-4444.

The Snow Squall Restaurant, located at 18 Ocean StreetonSouthPortland'swaterfront,servesfresh seafoodaswellaschicken,veal,andagedwestern beef.Letthechefchallengeyourpalatewithmenu offerings such as Herb Ravioli filled with summer greensandservedwithtomatocoulis;GrilledSalmon Filletwithwasabiandpickledginger;NewYorkSirloin grilled to order; Smoked Maine Crabcakes served with tropical fruit chutney; and of course Maine Lobster. Serving dinner 7 days a week, lunch Monday-Friday, and Sunday brunch. 799-2232.

CelebratefoodatSquireMorgan’s,whereyou’llfind homecookingwithadashofethnicspecialties,fresh seafood,andfish.SituatedintheheartoftheOldPort infrontofthePortlandRegencyInn,SquireMorgan's featurestheirfamousvolcanowings,awidevarietyof summer salads, homemade soups, rolls, and fresh roastturkey.46MarketStreet.774-5246.

Taj Mahal Indian restaurant at 43 Middle Street, Portlandservesawideselectionofseafood,chicken, lamb, beef, and vegetarian dishes which can be prepared as mild or as spicy as you like. Mogul biryanismadewithyourchoiceofmeatorvegetarian are a specialty, as is their fresh, homemade, chemical-free curry. They're open for lunch 11:30 a.m.-2:30p.m.,Tuesday-Friday,andfordinner5-10 p.m.. Tuesday-Saturday. Reservations accepted: 773-4498.

Conveniently located at 671 Main Street, South Portland—justminutesfromtheMaineMallatthe end of Exit 7 of the Maine Turnpike — Tony Roma’s specializes in the best BBQ ribs with their own originalsauce,althoughthegrillisalwaysfiredupfor afullmenuofchicken,primerib,seafood,steaks, salads, and sandwiches as well. Enjoy the casual atmosphereandcompleteyourvisitwiththeirfamous loafofonionrings.Openforbreakfastbuffet,lunch, anddinnersevendaysaweek.761-4211.

Tortilla Flat has been serving New Englanders fine Mexican food and drink for over 23 years. At 1871 ForestAvenueinPortlandyoucanfindfavoriteslike nachos, fajitas, chimichangas, tamales, burritos, tacos,enchiladas,andfrozenmargaritassevendays aweek,aswellasseafood,steak,pork,andchicken cooked with a Mexican flair. With lunch specials startingat$2.95,achildren'smenu,nightlyspecials, andaChiliHappyHour,TortillaFlatisamemorable Mexican experience you can afford any time. 7978729.

THF.ATLR

Mad Horse Theatre, 955F Forest Avenue, Portland, kicks off their tenth anniversary season and tests out their new lighting system on their largest cast ever for KingLear, Shakespeare’s immortal tale in which power, love, and betrayal are all in the family (September 27-October 29). Box Office: 79733M

Oak Street Theatre, 92 Oak Street. Portland. The newly formed Acorn Productions artists’ collaborative presents the Portland premiere of Eric Bogosian’s DrinkinginAmerica, fourteen skewed glimpses into the 1980s distortion of the American Dream through the eyes of televangelists, heavy metal stars, Hollywood producers, hippies, suburban punks, and winos (through September 17). Next Vintage Repertory Company begins their sixth season with Manuel Puig's KissoftheSpiderWoman, a sharply provocative tale of the friendship that develops between two strikingly different men imprisoned together in South America (September 21-October 7). Then solo performer Celeste Miller exuberantly spins tales of contemporary American life that range from the humorous to the powerful in her nationally acclaimed LostandFoundinAmerica:Someof theStories (October 12-22). All performances take place at 8 p.m. Thursday-Saturday and at 5 p.m.onSunday;allticketscost$10.BoxOffice: 775-5103.

Portland Players, 420 Cottage Road, South Portland. Wouldn’t it be loverly to revisit

LISTINGS ■

Lerner and Lowe’s beloved musical tale of the cockney flower girl who falls for the irascible Professor Higgins so intent on improving her? MyFairLady runs September 29-October 1, October6-8,andOctober13-14at8p.m.FridaySaturday and at 5 p.m. on Sunday. Opening nightticketscost$10;allothershowsare$13. Call799-7337.

Lyric Theater, 176 Sawyer Street, South Portland. Not to be confused with the Andrew Lloyd Webber production, this istheversionof Phantom you can actually get tickets for! The LyricbringstolifeArthurKopit’stenderstory and Maury Yeston’s heartbreaking music and lyrics September 22-24, September 29-October 1, and October 6-8 at 8 p.m. Friday-Saturday and at 2:30 p.m. on Sunday. Tickets to evening shows cost $13. and matinees are $11. Box Office:799-6509.

University of Southern Maine Department of Theatre, 37 College Avenue. Gorham presents Purplefireasts, a play tracing the unsettling effects of breast cancer on one woman’s relationships with her husband, family, and friends (October 6-8 and 11-15 at 7:30 p.m. Wednesday-Saturday and at 5 p.m. on Sunday). BoxOffice:780-5483.

The Public Theatre, 2 Great Falls Plaza, Box 7. Auburn. Brian Friel’s Tony Award-winning DancingatLughnasa travelsbackintimetothe 1930s in Ireland, where five Roman Catholic sisters share one last summer of ecstatic abandon. Performances are September 22-24 and September 28-October 1 at 8 p.m.

Thursday-Saturday and al 2 p.m on Sunday Tickets are $12.50 for adults, $10 for students andseniors(60*),and$8forchildrenunder12. The Public Theatre is located on the corner of Lisbon and Maple Streets in Lewiston Box Office:782-3200or(800)639-9575.

Sanford MaincStage Company, Inc., P 0 Box 486, Beaver Hill Road, Springvale. Since their productions of murder mysteries have been so popular in the past, the Pine Tree Players of Springvalewillcontinuethetraditionthisfall with Agatha Christie’s Murder on the Nile (September 8-9, 15-16, and 22-23) and then celebrate Halloween with the macabre tale The DarkoftheMoon (October 20-21 and 27-28). Performances are at 8 p.m. Thursday-Saturday and at 2 p.m. on Sunday. Tickets cost $8 for adults and $6 for seniors and children 12 and under.BoxOffice:324-9691.

MUSK’

Portland Symphony Orchestra, P.O. Box 3573, 100 Fore Street, Portland. The PSO's classical season begins at 7:30 p.m. on Tuesday, October 10 and Wednesday, October 11 at tht- Slate Theatre with a program of Viennese music by Mozart ("Haffner’’ Symphony No. 35), Mahler (Kinderlotenlieder), and Richard Strauss (selections from DerKosenkaualier). The pops season opens with the five-piece rock’n’roll band Flash Cadillac joining the PSO for such ‘50s and ‘60s classics as "Shake, Rattle, and Roll,”"JailhouseRock.""MyGirl.""Shout."and more at 7:30 p.m. on Saturday, October 14 and at 2:30 p.m. on Sunday, October 15 at the State

■ LISTINGS!

Theatre. Call 773-8191 or 1-800-639-2309 for tickets

Portland Concert Association, P.O. Box 1137, 100 Fore Street, Portland. The first national tour of Crazy for You, the brilliantly choreographed 1992 musical featuring eighteen classic Gershwin songs, arrives in Portland at 7:30 p.m. on Wednesday, September 27 at the Cumberland County Civic Center. Then PCA's Guitar Summit II brings together four guitar greats as diverse as Jorma Kaukonen (blues), Kenny Burrell (jazz), Manuel Barrueco (classical), and Steve Morse (lightning-fast fingerwork) at 7:30 p.m. bn Thursday, October 12 at the Civic Center. To ordertickets,call772-8630or1-800-639-2707.

Portland Performing Arts, 25A Forest Avenue, Portland. Brazilian jazz singer and multi-percussionist Nana Vasconcelos has collaborated brilliantly with Paul Simon, Talking Heads. Milton Nasdamento. and other major artists on three continents, as well as scoring many films, one of which— TheOther SideoftheWater—will be screened at 6 p.m. on Saturday, September 16 in conjunction with the concert at 8 p.m. in Portland High School Auditorium (tickets $16). Big Sounds’ nextcharacteristicallycross-culturaloffering at 8 p.m. on Friday, October 6 at the PPAC brings together virtuoso Franco step dancer Benoit Bourque and contemporary movement artist Ann Carlson for the premiere performance of the newly commissioned SondelaSemelle(TheSoundoftheSole), featuringlocaldancelegendsBerg,Jones,and Sarvls and Lisa Hicks, as well as area step dancers (tickets $14). At 8 p.m. on Friday, October 13 at First Parish Church, nine monks from the ancient Drepung Loseling Tibetan Monastery will perform their centuries-old style of multiphonic singing—in which each monk simultaneously intones all three notes of a chord—and play accompaniments for traditional Buddhist dances on gigantic trumpets, drums, and cymbals (tickets $16). Formoreinformation,pleasecall761-0591.

The IARK Society for Chamber Music, P.O. Box 11. Portland. The Portland String Quartet’s 27th season is entitled “Appassionato!” in reference to the hallmark playing style of the quartet and the romantic spirit infusing many of the program selections. The first concert features guest artist Doriot Anthony Dwyer on flute and includesMozart’sStringQuartetinAMajor.K. 464; William Bergsma's Flute Quintet, which was dedicated to Dwyer by the composer; and Ernest Bloch's String Quartet No. 2. The performance will take place at Woodfords Congregational Church on Sunday, October 1 at 3 p.m., with a reception afterwards in the churchatrium;ticketscost$17.50foradults, $15forseniors,and$10forstudents.Call7611522.

Cumberland County Civic Center, 1 Civic Center Square, Portland. The Statler Brothers bring their often humorous blend of country andspiritualson-stageat7:30p.monFriday, September 22; tickets are $22.50 and $24.50. BoxOffice:775-3458.

State Theatre, 609 Congress Street. Portland. John Tesh descends on Portland at 8 p.m. on Wednesday, September 20; and on Sunday, October 8 at 8 p.m. “An Intimate Evening with

QuietGentility with European Charm... ...intheheartofPortland.

GregoryPeck"isaretrospectiveoftheactor’s careerandlifefeaturingvideoclipsandatalk by Peck followed by a question and answer session. Call 773-5540 for tickets, and don’t miss PortlandMonthly photographer Kevin LeDuc's exhibit of backstage and performance photos of acts from Bo Diddley to Bob Dylan who have appeared at the State since early 1994 (on view Monday-Friday 9:30-5:00 and 104onSaturdays).

Chocolate Church Arts Center, 804 Washington Street. Bath. As part of their week-long community residency in Bath, the Kahurangi Maori Dance Theatre will perform traditional Maori music and dance at 7:30 p.m. on September 22 or 23 and take part in a traditional Hungi (cookout) near the water, probably on September 17 (exact dates still TBA); tickets for either the concert or the dinner cost $8, and combination tickets for both cost $12. On Sunday. October 8 at 7:30 p.m. the Vivaldi Chamber Orchestra of Moscow—an all-female, twenty-piece string orchestra inspired by the women’s orchestra Vivaldi himself founded—will give a concert preceded by a Russian dinner (time still TBA); tickets cost $15 in advance and $18 at the door, or you can purchase a $25 ticket that includes the dinner as well. For further informationcall442-8455.

Jonathan's Upstairs, 2 Bourne Lane. Ogunquit.heatsupwiththeLatinjazzofSoly Canto at 9:15 p.m. on Saturday, September 23. followed by Windham Hill guitarist Alex de Grassi at 9:15 p.m. on Saturday, October 6. Next in line is singer, harmonica player, and multi-guitarist John Hammond at 9:15 p.m. on Saturday, October 13; then Leon Redbone brings back the blues and revitalizes the old crooner songs at 9:15 p.m. on Saturday, October14.Call646-4777fortickets.

Ml’SIT’MS

Portland Museum of Art, 7 Congress Square, Portland. “From the Ashes: Portland's Cultural Renaissance 1790-1870” focuses on images of Portland, its surrounding landscape, and its most prominent citizens during Portland’s first “golden age" with works by Portlanders Harrison Bird Brown, Charles Octavius Cole, and Charles Frederick Kimball that illustrate the social and economic growth of the city during this period (through September 24).

"The Allure of the Maine Coast: Robert Henri and His Circle. 1903-1919” includes more than sixtypaintingsofMainebyturn-of-the-century American Realist painters Robert Henri. George Bellows, Randall Davey, Edward Hopper. Rockwell Kent, and Leon Kroll that show these artists following Winslow Homer’s philosophy of immersion in a particular locale in order to capture its essence in paintings (through October 15). Also on display through October 15 is the hull model of the PACT 95 America’s Cup yacht YoungAmerica, painted and signed by pop artist Roy Lichtenstein, along with the Sun Rays spinnaker he designed for the boat, and two painted collages. Opening September 16. “Rockwell Kent:JackofAllTrades,MasterofMany,”isa brief survey of Kent’s work in graphics and design (through December 3). Call 775-6148 for museum hours and admission.

-Compiled by Gwen Thompson

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BySanfordPhippen

y brand-new Maine driver’s license in hand, I assumed the dutiesofchiefchauf¬ feur and errand boy for Frenchman’s Bay Manor the summerof1960.Mrs.MadeliaRich¬ mond,oneoftheco-ownersofthe hotel,volunteeredher1957silvergrayOldsmobile98formyuse.She drove up from Greenwich, Con¬ necticut,theendofJuneandhad medriveheraroundtheSchoodic branchofAcadiaNationalParkso shecouldsatisfyherselfthatI couldmanagehercar.

1droveverycarefullyandslowly, soslowly,infact,thatmyportlyco¬ boss was prompted to exclaim, "MyGod,Andy!Ifyoucontinuepro¬ ceedingatthisbreakneckspeed, we’llbeluckytogethomebefore

Christmas!Eitherpickituporlet meatthewheel!”

“Thespeedlimitisonlythirty-five inthepark,”Isaid.

“Notwhennoone’slooking!It’s impressivehowcarefulandlawabidingyouare,Andy,butcareful peopledon’tgoveryfarveryfast. In fact, on today’s speedways, Grandma Duck would be peddling alonginherelectriccarcreat¬ ingamenace.Thereareminimum speeds as well as maximum, ya know.”

Withthat,sheplacedherfooton topofmineontheacceleratorand wespeededup.IpassedtheRich¬ mond Test, and as soon as she wentbacktoConnecticutandher part-timepositionasahospital administrator,IbecamethefulltimedriverfortheManor.

I liked the new job very much

becauseIcouldgetawayfromthe hoteleverydayandenjoyacertain amount of prestige and envy amongmyfemaleco-workersasthe ManwithWheels.

MissMeyer,myotherboss,had meontherunalloverthecountry¬ sideinsearchofspecialtiesforthe house.1drovetoanoldIGerman immigrantlady’sforgladiolusand to a farm up the peninsula for homegrownherbsandvegetables. Intowntherewasanoldcouple who grew wonderful raspberries andalobsterman’swifewhopre¬ pared upon request a delicious coldlobstersalad.1hadtodrive sevenmilesawaytoColdHarbor,a tinyfishingvillage,forthehome¬ made doughnuts manufactured by Mrs.HelenBillings.

Helen lived in a simple white framehousewithahugetreeinthe frontyardwithasparetireswing suspended from one limb and nailedtothesametreewasasign thatsimplyreadDONUTS.

HelenBillingslookedthepartof the doughnut woman. She was short,round,anddumpy,herhair inahairnet,bifocalshalfwaydown her nose, puttering around her kitcheninanapronshemadeher¬ self.Thekitchenwasabubbling factoryoutofafairytalewithcaul¬ dronsofboilinggreaseontheold oilstoveandracksofdoughnutsall overtheplace.

Shehadanapprenticeinhermid¬ dle-aged,half-wittedsonwhomshe called“Child.”

ThetreeswingwasChild’sandhe hadothertoysscatteredaround the house and porch. He was as rotundashismother,bothevident¬ lypronetosamplingtheirwares. He bounced about the kitchen, fetchingthingsathismother’s command. Child would giggle, laugh,andclaphishandsatany¬ thingMrs.BillingsorIsaidthat hintedoffriendlinessandgood times;butwhenshescoldedhim, whichwasratherfrequentinmy presence, he’d clasp his hands

togetherandbowhishead,likea saddumbanimal.

“CHILD!"Mrs.Billingswouldyell. “BringmethatpanNOW!”

“CHILD!Ifyoudon’tcutoutbiting yourfingersyouwon’tbeableto swingonthetiretoday,andIdon’t mean mebbe!”

“CHILD!Stopyerfoolin’around andbringmethemolasses!”

And to me, “Here, how many would you like this trip— three dozen? A nice mix, huh? Someplain,somechocolate,some mol-asses?"

Forotherdesserts,1drovetoa placejustoutsidethevillageof Summer Harbor called Apple Pie Heaven,asmalljerry-builttruck¬ stoprunbyabig,tough,good-look¬ ing blonde named Ramona Snook. Mrs.Richmondlikedtosaythat Ramona made “pies conceived in Heaven.”

“What’ll it be, bub?” Ramona wouldalwaysaskme.

“Whathaveyougot?”

“You’reinlucktoday,hon.Just take a gander at this handsome strawberry rhubarb number hot fromtheoven.Ain’tsheabeaut? Cameupquitenice—arealtaste¬ tempter,I’dsay.That'sinmyex¬ pertopinion,ofcourse!”

Beyondpickingupspecialties,1 madedailyexcursionstotheinsti¬ tutionsthatgovernourexistence: thebank,thepostoffice,thegas station,andthegrocerystore.

Whilebusinessatthebank,the gasstation,andpostofficewascut anddried,shoppingatthegrocery storewasanothermatter.

TheproprietorofW.A.Guilford andSonwastheson,WymanGuil¬ ford,atall,white-haired,bespecta¬ cled, and handsome gentleman whoalwayslookedasifhehadjust witnessedanunspeakablehorror, and thus had been rendered va¬ cantinexpressionandmemory.He actedabsent-mindedandforever distracted,especiallyifonewere speakingdirectlytohim.

"Wyman, darling, do you have

FICTION

somelovelyfreshporkchops?”1 onceheardtheAdmiral’swifefrom GraniteNeckaskMr.Guilfordone day.

“Ah,why,uh...maybe..let’ssee ...Iambchops?Uh,no,yes,per¬ haps...let’ssee...”

Wyman's eyes would search the store,lookingforanescapehatch maybe,anythingbutlookherin theface.

“1saidPORKCHOPS,darling!” “Oh,yes...sure,uh...let’ssee...”

Rumor had it that Wyman had wantedtobeanengineerwhenhe wasyoung,buthisfather,along withtheDepression,hadforced himintobutcheringmeatandulti¬ matelytakingoverthestore;and, thus, he had always hated the store.Howevertruethiswas,ev¬ eryone,summerpersonandnative alike,likedWyman.Personally,I alwaysfoundhimabitstrangeand hardtotalkwith,butthismight havebeenbecausehewassovery shyandawkwardwithpeople.Or maybeitwasbecausehedespised therolehehadtoplay.

ertainly,hemusthave found orders from the Manorbothersome.Miss Meyer and Mrs. Rich¬ mond both were al¬ wayshavingtoaddtothedaily order phoned in each morning. RushtripsbetweenGuilford’sand the hotel were not uncommon at allhours,wayafterthestorews closedforthedayorweekend.It seemedasifanemergencywasfor¬ everarisinginthemidstofmeal preparations.OnenightMr.Guil¬ ford,summonedfromhisbed,met meinhispajamasandovercoatat thebackdoorofthestorewitha packageofmeat.

Iwasalwaysbeingtornfrommy dishpanwithcrieslikethefollow¬ ing:“Oh,myGod,”saidHattie,the head waitress, “We're out of cream:An-day,rushtothestore!”

“Errr...”saidMissMeyer,clearing herthroat,“Andy,takeyourapron offandrunuptoGuilford’squickly

andgettwoquartsofharlequinice creamandadozenfreshpeaches!"

“Jay-susChrist!”exclaimedBerterFickett,theassistantcook, “There’snoorangejuiceleftfor morning, and Mrs. Lawson must haveherjuice!An-day!”

When Miss Meyer, propped up againstthekitchensideboard,the phoneinherrighthandandthe usualcigaretteinherleft,phoned inthegroceryordereverymorning afterbreakfast,she’dsay,“Errr... hello,thisisMissMeyeratFranchman’sBayManor.I’dliketo... what’sthat?Pardonme?Oh,yes, I’llwait...errr...o.k.,now,I’dlikea dozen tomatoes, two bunches of celery,adozenFloridaoranges,a boxofSOSpads,apackageofDia¬ mondwalnuts,alegoflamb,and twosix-packsofMiller’sHighLife.” Nomatterwhatelsewasonthe order,she’dalwaysaddonasix packortwoofMiller’s,herfavorite brew.

BymylastyearattheManor,1 was over twenty-one and could legallybuyliquor,so“mercymis¬ sions”totheMilbridgeorElls¬ worthliquorstoresbecameadded tomyothererrandtrips.“Thank God,you’refinallytwenty-one,” saidMissMeyer.“Nowyou’llreally earnyourkeep.”

WhatIenjoyedmostaboutchauffeuringwasnottherunningofdaily errands,butthepickingupand deliveringofguests.

MyfirsttriptoUnionStationin BangorwastopickuptheViolet Sisters,acoupleofred-haired,mid¬ dle-aged,overlyplumpold-maid sisters from New York. When 1 arrivedatthestation,afraid1was toolateforthetrain,Imetmy uncleEugeneCrowleyfromTaun¬ tonPointoutontheplatformallby hislonesome.UncleGenehadal¬ waysbeenoneofmyfavoriterela¬ tivesbecauseofhispracticaljokes, hiswildsenseofhumor,hisloveof people,andhisrelaxedwayoflife, seenmostlyfromtheviewpointof butler,gardener,handyman,and

chauffeur.Heusedtoworkonthe Maine Central steamboats with myfather;butsincetheboats stopped running, he had spent mostofhisadultlifeworkingfor thesummerpeople,aservantto therich.Hewasahandsomeman ofregalbearingandwithaloveof liquor,whichlentacomicslurto hisspeechwhichwasalwayspep¬ peredwithamusingobservations andyarns.Hewasstandingthere thatdaywithhisbacktome,his lefthandinhispantspocket,acig¬ arettepoisedinhisright,hishat situatedjauntilyonhishead,as usual,humminghisthemesong, “Linda.”

“Hi,UncleGene.”

Hesmiled.“Well,mysouland body, what have we here? You planningabigtriporrunning away from home?”

“I’ve just been promoted to chauffeur.”

“Itcouldn’thavehappenedtoa nicerboy.Makesurenowthatyou getagoodtipanddon’trunover anyskunks.”

“Isthe Bar Harbor Expressin yet?”

“You mean theBangor Express nowadays,don’tcha?...No,that oldchoo-choogetslaterandlater everytrip.Prettysoonitwon’t comeatall;thenIcanretire.”

1didn’treckononthetrain’shav¬ ingsomanypeopleonit,norhalf as many red-haired women who allseemedtobetravelinginpairs. AllIcoulddowaswaitandsee whowasleftstandingthereafter thecrowdhadlargelydispersed, whichIdid,andalmostsimultane¬ ously,itseemed,theVioletgirls andIdiscoveredeachotherand madeourway,chattingamicably enough,withmyansweringallthe questionstheyfielded,andpoint¬ ingoutwhatnoteworthyorhistor¬ icalaspectsoftheroadsidescene Iknewasayoungmanofeighteen.

Forinstance,travelingthrough Lucerne-in-Maine,fromBangorto Ellsworth,Ishowedtheladies

SECRuleShortens SecuritiesSettlements

ByEdward It" Ropers.Jr.

Prognosticationsofa cashless"societywhereall commercewillheconducted usingelectronicfundstrans¬ fershasnotyetoccurred,but thesamecannothesaidfor todaysstockmarkets.Stock certificateshavegonetheway ofthehorseandbuggyformostinvestors,especiallyinlightof thenewSecuritiesandExchangeCommissionrulerequiring securitiestradestobesettledinthreebusinessdays.Certificates, oncetheprincipalmethodoftrackingownershipofsecurities, havevirtuallydisappearedintoday'sworldasmostinvestors holdtheirinvestmentselectronicallywiththeirbrokeragefirms.

TheSEC'srecentrulechangeincreasesthestabilityofthe capitalmarketsbycullingthenumberoftradespendingsettle¬ ment.andtheattendedrisk.Thereductioninsettlementtime framefromfivedaystothreeisconsideredasteppingstone towardrequiringseltlementonthedayafterthetrade—oreven simultaneouslywiththetrade.Thesechangesmakeholding slockcertificatesparticularlydifficult,sinceitisnearlyimpos¬ sibletolenderthecertificatestothebrokerinlimelosettlethe trade.

Mostinvestorstodayhavetheirinvestmentsheldin"street name."aconvenientandefficientmethodofownershipwhere theinvestor'sbrokeragefinntrackstheirinvestmentsinapaper¬ lesselectronicsystem.Whentheinvestorsellstheirstock,settle¬ mentiscompletelyautomated.Streetnamesecunties,reflected ontheclient'sbrokeragestatement,aresimilartoasavingsor checkingaccountstatementfromabank.inthattheclientnever actuallytakespossessionofthecash

Astreetnamebrokerageaccountisprovidedatnocostlo investors,althoughthefinnmayassessanannualservicefeeto coverexpensesonaninactiveaccount.Thebenefitstothe

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♦Promptreinvestment- -dividendsandinterestre¬ ceivedinastreetnameaccountcanearnacompetitiverateof interestuntilreinvested.Inthecaseofastocksplitorstock dividend,theadditionalsharesarecreditimmediately.Tlw brokeragefinnalsomanagestheadministrativedetailsrelated tolenderoffers.

Forthefewinvestor*thatstillholdcertificates,theincidents oftheft,lossanddestructionofcertificateshavenotabatedThe costloreplacecertificate*remainssignificantWithiheshorten¬ ingofthesettlementcycle,moreinvestorswillsurrendertheir certificatestotheirbrokeragefirmsandavoidtheburdensof dealingwithcertificates

Eduard IT Rogers.JrisVicePresidentojLe^"MasonHood U alker.tnc..afullsenicesecuntieshml'ira^eandfinancial senicesfirmwithofficesfromMametoTexas!j>calofficeat 465CongressStreetmPortland.Maine

Whateveryourinvestmentpriorities,LeggL Mason'sfamilyofequity,bond,tax-freeandJ monevmarketfundsoffersyouexperienced( accountmanagement,diversificationandthe■ flexibilityyouwantintoday'srapidlychang-■ ingmarketplace.Butjustascritical,wealsoM understandtheimportanceofofferingindivid-M ualsolutionstoyourindividualgoals...andofII workinghardtoaddvaluetoyourfuture,nowrj and in the years to come. I

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“It means that the guy who owneditburneditdownforthe insurance.”

Aswedrovebyanotherspot,I toldthemwhatmyfatherhadtold me.

“Duringthe1930s,awholefamily ofpeoplewaskilledrighthere. Theywereridinginatruckfilled withdynamite.Someofthekids weresittingonkegsofdynamite lickingicecreamconeswhena cigarettetouchedoffoneofthe kegs.Partsoftheirbodieswere scatteredeverywhere,alloverthe place. They even found an arm danglingfromatelephonewire.”

“Why,youngman,that’sterri¬ ble.”

MissMeyerlatertoldmethatI hadbeenagreathitwiththeVio¬ letgals.Theyhadgreatlyenjoyed theirtourwithmealongtheBan¬ gorRoadandRouteOne.

Oneothertime,attheBarHar¬ borAirport,Ihadtopickuparich lady from Park Avenue named Mrs.Chittendon,whomMissMey¬ erhadwarnedmetotreatvery well, to go easy on my story¬ telling,andnottoarguewithher sinceshewasawomanofstrong opinions.Whilewaitingforher plane.1chattedwithanotherun¬ cleofmine,RupertHaskell,who workedasaticketclerkduringhis summers away from his school¬ teachingjob.

Mrs.Chittendonwasamiddleagedwidowofaristocraticbear¬ ing.Sheworetintedsunglasses,a wide-brimmed hat, a beige sum¬ mersuit,andcarriedanexpen¬ sive-lookinghandbag.Shecarried herselferectandspokewithan

imperioustoneofauthority.Her suitcases,however,wereancient, tattered,ropedtogether,andfall¬ ingapart.

“Those bags have been around theworldwithme,”shesaid.

Onourwaytothehotel,Mrs. Chittendon made me keep stop¬ pingatadozenormorelittledri¬ ve-inplaces,soshecouldsee “whatallthequaintlittlepeople hadwithwhichtobartertheir existence.”

Shealsostartedtalkingpolitics.

“IshallneversurviveifKennedy winsinNovember,”shedeclared.

“Whynot?”1hadtoask.

“Becausethatboy,Jack,isthe sonofanout-and-outscoundrel!I don’tknowtheboy,but1knewhis father,andJoeKennedy,takeit fromme,isanawfulman!Andan appledoesn’tfallfarfromthe tree.”

1neverlearnedwhatshemeant wassoawful,becauseIdidasmy bosshadsuggestedandaskedfew questions,replyingmostofthe time with an agreeable “yes, ma’am.”

“Thereusedtobeawonderful oldwomanwholivedinashack downonMountDesertwhobaked themostdeliciousblueberrypies I’veevereaten.Idon’tsupposewe couldtryandfindher?”

“We'reonthemainland,ma’am,” Isaid.“Itwouldtakequiteabitof timetodoublebacktotheIsland, andI’vegottobebackatthe Manor.”

“Oh,allright.MaybeIcanfind out from Jean Meyer about the nameofthatwoman.”

Duringthesechauffeuringjobs,1 hadtoforgomyusualoutfitsof jeansandcottonshirtsanddress moreformallyinwhiteshirtsand blackorgrayslacks.

OnecoupleIhadtodriveallover theplacewasProfessorandMrs. Economy.Hetaughtinthebusi¬ nessschoolatCornellandnur¬ turedakeensideinterestinrural sociology.Hemademedrivethem

“Tenants Harbor”, byScottChristensen Aposterreproductionfromanoriginaloilpainting. Imagesize131/4”x-16”. $26.00ppd.VisaMC.Maineres.add6%salestax.

33BayviewSt.,Camden,Maine04843 Tel.2072364534 75MarketSt.,Portland,Maine04101 Tel.2077733007 18002444534

THE PINE TREE SHOP & BAYVIEW GALLERY

BackBayTowernowoffersfully furnished corporate apartments completelyequippedforconvenient and comfortable living for the businesspersonpreferringahome environmentversusahotelsetting. BackBayTowerisPortland'sfinest addressofferinggreatviews,superb intownlocationintheheartofthe businessdistrict,Portland'sfinest diningandculturalofferings.

Themanyamenitiesyouwillenjoy:

Distinctive2and3bedroomapartments Flexibleleaseterms

"Turnkey”furnishingsoption Conciergeservice, Undergroundsecuredparking

•"FloridaRoom”featuringlappool,exercise alcoveandsaunas

•Twenty-fourhourlaundry

•Drycleaningservice

•Half-acreterracebeautifullylandscaped

BACK BAY TOWER

offersthemostcomprehensiveandprofessional corporate/executiverentaloptionsinthearea.

ComebyandvisitusduringouropenhouseheldMondaythroughFriday, 10:00am-5:00pmandonSundays,12:00noon-4:00pm, orcallusat(207)772-7050formoreinformation.

LEEN’S^ .^•4 LODGE

P.O.Pox92•Newport.ME04953

May 1-Autist 31 • I-800-99LEEDS Hox40•GrandLakeStream,ME04637

TheWaldorfoftheWilderness

•ModifiedAmericanPlan

•Secludedlakesidelogcabins

•23woodedacres

•Fullbathineverycabin

•Livingroomwithfireplaceor

FranklinStoveineachcabin

•DiningLodgewithfireplace

•Dockingfacilities,boat&motor rental,sandybeach

AShadeBetter

SpecializedWindow3reatment

_ andDecoratingCenter_

•Fabrics

•MiniBlinds

•PleatedShades

•VerticalBlinds

•CustomDrapes

•TopTreatments

•SohShades

•Wallpaper

•Re-Upholstering

•SolarShades

WTiereTricingis

AhvaysCompetitive

Commercial ♦ Residential

190 Route One (207) 781-2113

Falmouth.ME041051-800-287-2113

Route #1

P.O. Box 2102

Scarborough, Maine 04070-2102 207-883-4816

Kitchenettes,AC,colorcableTV(HBO), heatedpool,spaciousgrounds.Near restaurants,beach,amusements,race tracks,golf,MaineMall,betweenKittery andFreeportoutlets.

Pride Motel & Cottages

1-800-424-3350

throughandaroundallthelittle fishingvillagesinHancockand Washingtoncountiesatleastev¬ eryotherafternoonoftheirtwoweekstay.Helikenedthevillages dominatedbyalargesardinefac¬ tory,lobsterpound,orblueberry cannerytofeudalcoloniesfrom theMiddleAges.

“Fascinating,”he’dkeepsaying. On the way back to the Bangor Airport, we were late, but Dr. Economy just had to have both his New York Times andHeraldTribune, whichwashisusualdailyhabit. Hecouldn’texistwithoutthem.It wasearlyinthemorning,butI knew enough about Bangor to knowtherewasoneratherlarge downtown magazine and newspa¬ perstoreonLowerStateStreet called Mr. Paperback where I mightbeabletopurchaseboth publications.Inmyrushtoget there,however,IwentdownLow¬ erStateStreet,whichisone-way, thewrongway,causinganumber ofon-comingcarsandtrucksto honk and toot and one loud¬ mouthed woman to scream at me out of her car window, “WRONG WAY, BOZO!"

I was embarrassed and backed upasfastaspossible,apologizing totheEconomysinthebackseat; but they seemed unperturbed by theincidentandmuchmorecon¬ cerned about the newspapers. “CanwestillgettheTimes? The Times,atleast,IMUSTHAVE!"

“Yes,I’mtrying.”

Roundingtheblock,Isawthat thestorewasopen;theTimesand Tribune both were for sale and purchased;andwemadeittothe airportjustintimefortheirNorth¬ eastAirlinesflighttoNewYork.

Relievedthatwehadmadeit, when I really didn’t think we would,1stoppedonmywayback totheManorandtreatedmyself toabananasplitandcoffeemilk shake. I

Shipyard Export Ale, a New England original, _Kand brewed & bottled at our own breweries on the coast of Maine.

[Also Goat Island Light Ale, Moose Brown Ale, Blue Fin Stout, Prelude Ale; k LongfellowWinterAle and OldThumper Extra Special Ale.

SIR

BRUCEA.BUXICN

AntiqueAuctionsandAppraisals PAINTED IN 1858 - SOLD BY BRUCE A. BUXTON IN 1994

PaintedbySeverinRoesen

Theownerofthisbeautifulstilllifeknewitwasvaluable.Heselected BruceA.Buxton,Inc.tobothappraiseandsellthepaintingforhim. Thepaintingsoldforover$100,000andtheownerwasverypleased.

Whilenoteverypaintingorantiqueisworthwhatthisoneis,itis our philosophy thatallpiecesshouldbetreatedwithequalrespect.

Lastyearweappraisedover$120,000,000worthofantiquesandart.

WHY DO SO MANY INSURANCE COMPANIES, ATTORNEYS AND INDIVIDUALS SELECT US? MANY COMPLIMENT US ON OUR THOROUGH RESEARCH, KNOWLEDGE AND CONFIDENTIALITY.

WE APPRAISE, AUCTION OR BROKER THE FOLLOWING ANTIQUE ITEMS: FURNITURE ORIENTAL RUGS ART COINS PORCELAINS AND GLASS SILVER JEWELRY BRUCE A. BUXTON, INC. Tel. 207-772-6979 • P.O. Box 8780 - Portland, Maine