Portland Monthly Magazine September 1996

Long-TermHealthCare...

THE RISKS

■ Two out of five people age 65 and over may risk entering a nursing home.*

■ The average length of stay in the nursing home is 456 days.*

It can be expensive

■ Nursing home care costs between $25,000to$50,000peryear.

■ Medicare was never intended to provide coverageforallhealthneeds,yet according to a new survey, 79% of the people interviewed thought "Medicare would pay7fortheirlong-termcare.*

■ .Medicare pays only7inaSkilled-Nursing Facility7andbenefitsrunoutaftera limitedperiod.*

■ Long-Term Care coverage is designed to supplement y our existing accident and sickness coverage.

LONG-TERM HEALTH CARE.

THE SOLUTION

FEATURES

/Facilityconfinementwithoutpriorconfinement

/Waiverofpremium

/Specialsavingsonspousecoverage

/Benefitspaiddirect!}toyouunlessassigned

MONTHLY BENEFITS FOR

/Prescriptiondrugs

/Medicine;or

/Otherpersonalitemsasyouprefer

PLUS Optional Benefits

/ Home Health Care

/AdultDayCare

/ Hospice Care

/Inflationfighter

FindoutaboutAFUCsLong-TermCare!Wethink you'lllikewhatyousee.Forinformationconcerning thecosts,renewals,limitations,andfurtherdetails ofthecoverage,completeandmailtheattached cardtoday.AnAFLAC;Associatewillcontactyou. There’snoobligation.

YES,I'minterested. CUT OUT AND MAIL TO FellmehowAFIAC’s Long-Term Care Plan canhelpmeandmylovedoneswiththeever-risingcostsofLong-TermCare.

ThePineTreeShopandBayview Gallerycelebratestherichtraditionof Maineartists.Wefeaturethework ofMaine’sfinestartistswhopaintour stateasyourememberitinyour fondestdreams.

Bringthosedreamsintoyourhome andofficebyinvestinginthisartand savorthosememories.

“View from Shore” by Carol Sebold Thegentlebobbingofaresting sailboatisseenthroughthepines. Originalwatercolor Imagesize18”x12"

“BerryPicking” by Tina Ingraham Brilliantcolorsandbroad-brimmed hatsmarktheberrypickingseason. Originaloilonpanel Imagesize191/2”x151/2”

“Impact” by Scott Moore Thrilltothesurgingpowerofthe surfcrashingagainsttherocky coast.

Originaloiloncanvas Imagesize36"x54"

Visa,MC,Discoveraccepted

Whyresort toanythingless?

Weknowwhatmakesagreat resort.Somethingforeveryonein thefamily.Anytimeofyear.

That’stheAnchorageInn. SouthcoastalMaine’sonlycom¬ pleteyear-roundfamilyresort. DirectlyonlongSandsBeachin YorkBeach.

You’llfinditallatthe Anchorage.

Over100beautiful,modem andfully-appointedoceanfront rooms.Allwithairconditioning., direct-dialtelephones,privatebath andcolortelevision.Somerooms, likeourSpaSuites,evencomewith privatewhirlpools.

There’sanoutdoorandindoor

swimming pool * withwhirlpool spa.Complete exercise and fit- y nessroom.An indoor/outdoor poolsidecafefora refreshingdrinkorquick 1 snack.Andanoceanfront restaurant,withbeachsidedeck, foranythingfromatallcooloneto anhonest-to-goodnessDownEast lobsterandclambake.

Andwhereelsecanyoulook acrossfromyourroomandseeone ofAmerica’smostpicturesque lighthouses?

Nottomentionalocationthats justminutesfromtennis,golfand alltheshopsandattractionsin YorkBeach,theKitteryoudetsand historicYorkandPortsmouth.

Foragreatvacationanytimeof year,there’sonlyonespottoresort to.TheAnchorage.

Formoreinforma¬ tionandreservations, callorwrite.

The Perfect GiftIs Ageless

Antiquejewelry recognizedfor quality,value,and uniquestylecollectedwitha discerningeye. Whenyou're shoppingforyourself oralovedone, visitusintheheart oftheOldPort, downtownPortland.

^ESTATE JEWELRY 26 MilkStreet PoRn^xND, Maine 04101 207'774 - 8994 an

BeachasahugeArtDecoaffair.”

Ofcourse,Sandy,now54,wouldend upworkinginahotelhimself,The Frenchman’sBayLodge—thesettingfor KitchenBoy (thenameischangedtothe fictionalFrenchman’sBay Manor) —as abellhop,dishwasher,chauffeur,and, well,kitchenboy.Phippencallsthe Manor“myraftdowntheMississippi... myPencyPrep,evenmyPequod.”

AuthorSandyPhippenwalksintothe officeandsayshe’sjustfinishedabook tourthroughWhitePlains,NewYork. “WhyWhitePlains?”IaskSandy. “BecauseIwasbomthere,”hesmiles. “I’mtheMainenativewhowasbornin WhitePlains.”

Sandy’s astonishing condition is made more clear when he says, “My mothermoveddowntheretobewithher sisterin1942fortwomonths-andalso tobewithherwhenshehadme!”

Fromthenon,itwasMaineallthe way,and“by7thgrade1knewIwanted tobeawriter.Ididn’ttellanybody,of course,’Hiatwasagoodyearforme.”fhe PortlandSundayTelegramprintedmy pictureofaMiamiBeachhotel—from aMaineboy’sviewpoint.Itdidn’tquite reachthemoon.Theyranitinmid-win¬ ter—aruralboy’sview.1hadn’teven beentoPortlandset!IimaginedMiami

Here,likesomeoftheBoothTarking¬ ton’snovelsheenjoyedasaboy (“Penrod, Seventeen, andsomeofhisMaine-based storiessuchas Mirthful Haven and Mary’sNeck”), Sandy’sstorieslookacross thewhite-table-clotheddiningroomat Maine’sinfamousSummerPeople,but unlikeTarkington’somniscientpoint-ofview, Kitchen Boy (BlackberryBooks, $11.95)istoldbyanengaging,fumbling, foreverapologizingfirst-persontownie withdreamsofhisownand—wherethe artlies—anemergingsenseofirony softenedbyaloveforhumanity.Nomat¬ terhowrudetheSummerPeoplehave beentoSandy-nomatterhowheavy theirbaggagehasbeen,nomatterhow ridiculousthefinsontheircarswere(the booktakesplacecirca1962)—these rippinglygoodadventureshavemadeit tohispenasfondrecollections.“Asakid onHancockPoint,myrelativeshada senseofirony,"hesays,hissmilewiden¬ ing.“Ilikedealingwithdifficultpeople,I guess.

owers i rom

Wylie PostFlew

ToOurSpanish-Style OldOrchardBeach

J.C.StevensHome

WithallduerespecttoMr.Bclyca, we,thetwooldestofsixlivinggrand¬ childrenofEdnaG.andRobertP. 1lazzard,wouldliketocorrectseveral inaccuraciesinthearticle"Salsadel Stevens!”whichappearedinyourMay 1996issue.Itwouldnothavebeendif¬ ficultfortheauthortolocateusand therebyavoidspeculation:CousinBob (R.I’.II.Ill)islistedinthePortland telephonedirectory,andwecould havebeenlocatedthroughtheMaine StateMuseuminAugusta,theCardinerPublicLibrary,ortheOld OrchardIlistoricalSociety.

'Ibbeginwith,R.P.1lazzardowned thewoodenIlazzardShoeCompany inCardiner,severalblocksfromthe KennebecRiver,notthebrickYork¬ town Paper Mill on Cobbossee Stream.

Webelievethatamajorreasonfor locatingatOldOrchardwastheavail¬ abilityofthebeachasalandingstrip fortheIlazzardShoeCompanyplane. Thehousewassoldunfurnished, and,tothebestofourknowledge,the onlyoriginalitemwhichhasbeen returnedisthediningroomrug.The bedroomfurniturewaspainted,each roomadifferrentcolor,withspraysof flowers;themasterbedroomsethas paintedleatherheadboardsandthe otherpiecesaredeeplycarved-asare thediningroomsideboard,cabinet playerpiano,andfronthallblanket chest-withwroughtironstretcherson severalpieces.Thesecarvedpieces, thoughSpanishindesign,werefrom aBostoncompany.Bytheway,there arcsevenbedrooms,twoofwhich werecalledsleepingporches.

WhenJudgeandMrs.Dantonwere livinginthehouse,sheshowedus aroundandaskedabouttheoriginal furnishings.Manyoftheoriginal drapeswerestillthereafter50years! WebelievetheSnowspaintedthe housepinkandbulldozedandfilledin tirebeautifultiledswimmingpool. Anotherinterestingfeatureofthe

By Appointment

TonyRomAs

TheInnatMiddlefieldsis serenelysetonspacious,wellkept lawns, surrounded by exquisitestonewalls.Stately mapleslinethelongdrive,weL comingyoutotliecomfort and warmth of this 1800s FederalhomeinBristol.

Therearefiveguestrooms, somewithfireplaces,onewith Frenchdoorsoverlookingthe orchard,allwithprivatebaths.A greatroomboastsgoodbooks, comfortablechairsforcurling up.Afternoonteaisaccompa¬ niedbythedessertoftheday.

BreakfastincludesGrammie’sIrishoatmeal,muffins,freshfruit,buttermilkpan¬ cakes,maplesyrupandsausage.Sorry,nochildren,petsorsmoking.

The Inn at Middlefields 207-529-5009

LAFAYETTE SQUARE APARTMENTS

Thisiswhereyoucanenjoytheprestigeand comfortofabrandnewapartmentplusthe characterandcharmofanhistoricbuilding.

IdeallylocatedintheDowntownArtsDistrict, surroundedbymuseums,trendyrestaurants andcuttingedgegalleries,LafayetteSquare offerson-sitemanagement,fitnessfacilities, electronicentry,videomonitoring,parking, BackCove,harborandoceanviews,and corporatesuites.

architectureisthatallofthedoor framesarearched-andclosetlights cameonasifbymagicwhentheir heavyoakdoorswereopened.Other featureswereabuilt-invacuumsys¬ tem,incinerator,andlaundrychute. Asanaddedpointedinterest,aviators WyliePostandCharlesLindbergh, theRinglingsofcircusfame,and manyotherprominentpeoplewere entertainedthere.Thesceneofmany happymemoriesfortheHazzardchil¬ drenandgrandchildren,wethinkthat thatwonderfulhousedeservestobe rememberedasmorethana“redhot chilipepper.”

CynthiaO.Bean &DianeS.Anderson Winthrop

“SharplyCritical Reflection On Mrs.Rockefeller”

Iwanttosaluteyouonthisyear’s“Is¬ landDreamin’”article(“DreamIs¬ lands,”Summerguide,1996)andac¬ companyingessays.Theywerewell doneandvastlyimprovedoverprevi¬ ousyears.Thankyouforyourefforts topublishresponsibleandbalanced stories.

Icontinuetobeperplexedanddisap¬ pointedbyyourdecisiontopublish BenEmory’sletterwithyourreply.I ammystifiedwhyyouthoughtitnec¬ essarytorunthesepiecesandhowyou thoughtthiswouldimproveyourrela¬ tionshipwithMaine’senvironmental community.Iamalsocuriouswhat motivated you to publish such a sharplycriticalreflectiononMrs. Rockefeller.Manyfuturegenerations willbegratefulforhergenerosityand vision;Icanonlyimagineyourcom¬ mentscamefromnotfullyunder¬ standinghercontributionstoMaine.I wouldverymuchliketohearand understandyourperspectiveonin¬ cludingthisinyourmagazine.

ChristopherC.Hamilton CommunicationsCoordinator MaineCoastIleritageTrust NortheastHarbor

Established 1985 Volume XI. Number VI, September

Colin Sargent Founding Editor & Publisher

Nancy Sarcent Art Director

Diane Hudson Publisher's Assistant

Karen Stevens-Bartok Controller

Michael Sullivan Advertising Director

Anthony Famularo Advertising

Karyn Jenkins Production

Johanna Hanaburch Copy Editor

Gwen Thompson Calendar Editor

Kevin LeDuc Photographer

Colin S. Sargent Production Assistant

Portland Magazineispublishedb\SargentPublishing.Inc., 578 Congress Street. Portland, ME 04101. All corre¬ spondence should be addressed to >78 Congress Street, Portland. ME 04101

Advertising Office: >78 Congress Street, Portland. ME 04101 (207)775-4539.

Billing Questions: If you have questions regarding ad¬ vertisinginvoicingandpayments,callKarenStevens-Bartok at(207)646-3265.

Newsstand Cover Date: September 1996, published August 1996,Vol.II.No.6,copyright1996. Portland Magazineis mailedatthird-classmailralesinPortland,ME04101(ISSN 1075-1857).Opinionsexpressedinarticlesarethoseofauthors aiddoriotrepresenteditorialpositionsofPortlandMagazine. Responsibleonlyforthatportionofanyadvertisementwhichis printedincorrectly,andascompensationwewillrunacor¬ rectioninthefollowingissue.Nothinginthisissuemaybe reprintedinwholeorinpartwithoutwrittenpermissionfrom the publishers. Submissions welcome, but we take no responsibilityforunsolicitedmaterials.

Portland Magazine is published 10 times annually by SargentPublishing,Inc.,>78CongressStreet,Portland,witn newsstand cover dates of Winterguide, February/March. April, Mav, Summerguide, July/August, September, October, November, and December.

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Inthislife,you'vegotalottodo.RiteAidcanhelp.Withmorelocations thananyotherdrugstore,we’realwayscloseby.Wefillyourprescriptions fastandourpharmacistsalwaystakethetimetoansweryourquestions.At RiteAidyougetbigsavingsonallthethingsyouuseeveryday,like:

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JoanWhitneyPaysoninherNewYorkapartmentinthe1950s.ShecreatedtheNewYorkMeismajorleaguebaseballteamin1962.

MainesMeaicis AFieldGuideToThePaysonFamily

Anartcollector’sstatusderives,in largepart,fromtheartworksasso¬ ciatedwithhimorher.Whenwe thinkofImpressionistart,forex¬ ample,wethinkofsuch“first families”ofcollectingastheIlavemeyers andtheAnncnburgs,amongothers.Of course,thesefamilieshadmoneyto spend,buttheyalsohadaneyeforthe goodstuff.

Andtheyhadtheiradvisors—friends,art

StoryByCarlLittle

dealers,museumcuratorsandthelike— whodirectedthemintherightaesthetic direction.AlbertBarnes,amasserofthe renownedBarnescollectioninMerion, Pennsylvania,calledoncontemporary' artiststohelphimmaketherightcalls. Certaindealers,likethevirtuosoLord JosephDuveen,arethestuffofartcollect¬ inglegend.

Mainehashaditsshareoffamouscol¬ lectors.Tothisday,manyofthewealthy

folkwhohavebuiltsummerhomesinthe stateareartbuyersofnote.Amongmy favoritesfromanearliertimewasCarroll Sargent Tyson, a Philadelphian who spentmostsummersinthefirsthalfofthis centuryonMountDesertIsland,liewas apainterofnote,emulatingMonet, w'homhehadmetinFrance,buthewas alsoagentlemanwithaneyeformaster¬ works.

Tysonmanagedtoaccumulateanum-

Seekingapeacefulrespiteina delightfullyquietsetting?

Weareasmall19th-centuryinnnestledalongtherollingfairwaysofthe CapeArundelGolfClub,yetwithinwalkingdistancetoDockSquare.

1802 House

SpaciousGroundsinaCountrySetting

PrivateBathrooms•Fireplaces•FullCountryBreakfasts HoneymoonSuitewithdoublewhirlpoolbathtub

Open Year Round • (®)

15LockeStreet,Box646A,Kennebunkport,ME04046-1646 207-967-5632 800-932-5632

Hand-craftedfurniture,pottery,glassware,lamps,fiberwork, homeandofficeaccessories,jewelryandexclusivegifts,by morethan100localandnationalartists,manyoneofakind pieces.Currentexhibitfeaturesnewdesignsbylocal furnituremakers,TedNeyandKarlGrose.

Hours:Monday-Saturday,11-6■Friday,11-8 164MiddleStreet■Portland,ME04101■761-7007 (betweenDavid’sRestaurantandtheRegencyHotel)

berofkeyImpressionistworks,aswellas paintingsbyCoya,Cezanne,Poussinand vanGogh.Heownedthelatter’sSunflow¬ ers.AccordingtothelateLouisMadiera, thevanGogh“hunginthediningroom, butTysonplaceditbehindhisbackwitha mirroroppositebecausehetiredofitand thoughtthepaintingcrudeanduntu¬ tored.”Madeiraalsorecountedthetaleof theonethatgotaway:

He[Tyson]wasfondoftellingthestory ofseeingSeurat’sfamous Un Dimanche apres-midiaI'iledelaGrande-latte lying

CharlesShipmanPaysoninhisNewYorkCity officeinthe1970s. onagarretfloor,forsaleat$3,000.He cabledtohislawyerfatherforthemoney andthepromptreplywas,“Comehome atonce!”

SomeoftheTysoncollectionwentto thePhiladelphiaMuseumofArt. Tyson’sownpaintingshavefound theirwayintoesteemedinstitutions, includingtheWhiteHouse,which displayshisHall’sQuarry'from1905. Today,thenamesofElizabethNoyce andScottBlackareassociatedwithsome ofthefinestarttobefoundinthestate. NoycechoseMaine-relatedartists,past andpresent,asthefocusforhercollec¬ tion.Inrecentdays,shehasdonateda numberofherprizes,whichinclude worksbysuch“OldMaster”American landscapepaintersasFitzHughL^meand Frederic Church, to Maine museums, bolsteringalreadyimpressivecollections intheprocess.

Likewise,Blackhasloanedanumberof key20th-centuryEuropeanpiecestothe PortlandMuseumofArt,extendingthe internationalscopeofthisinstitution.And onemustn’tforgetthelikesofNorma Marin,RobertandMaurineRothschild, Mary-LeighSmartandmanyotherkeen¬ eyedcollectorsandpatronsoftheartswho havedonatedimportantworkstoMaine museums,oftenguidedbytheirstated needs.

Ifonewerelookingfora“firstfamily”

wentfortherecordpriceof$53.9million atSotheby’sin1987.

ThePaysonFoundation,administered bytheMaineCommunityFoundation, supportstheartsinMaine,reflecting Joan’sfieldofinterest,andcoastalconser¬ vationandMaine’smaritimeheritage,in linewithCharles’preoccupations.In 1996,thefoundationwillfocusona majorinitiativetobringthecompletecol¬ lectionofJoanWhitneyPaysontogether forthefirsttime.

AdventureswiththeNewYorkMets

Iwas22whenmymotherstartedtheMets.Itwasbefore thefreeagencies.Mostplayersdidn’tevenhaveagents. IgottoknowEdKranepoolandBudHarrelsonpretty well.MymotherandIusedtogototheirspringtraining gamesatSt.Pete.InNewYork,intheowners’box,my motherwassuperstitious!Iftheteamwasbehind, everybodyhadtochangeseats.Iftheywereaheadand someone in our box changed seats, she’d go around the bend.‘Don’tdothat!’she’dsay.Shelovedherteam. When Tom Seaver got an agent, my mom was heartbroken.‘Tom,howcouldyou!’shesaid.He laughed,becausetheyalladoredher.In1975,aftermy motherdied,myfathergaveteamstocktomysisterand mewiththeideathatweruntheteamforhim.Mysister took the lead role, but once team management asked for anownerpeptalkinthelockerroom.Ofcourse,my sistercouldn’tgo!SothereIwas,feelingabit uncomfortable.Iwentbackandchattedthemupabit.I don’tknowhowwellIdidatit!Ican’tevenremember whatIsaid.Iknewafewoftheplayers,sotheymade mefeelwelcome.-Jo/rr? WhitneyPayson

ofartcollectinginMaine,mosteveryone wouldproposethePaysons.CharlesShip¬ manPayson,aPortlandnative,andhis wife Joan Whitney, from the famous Whitneyfamily(whichwasresponsible forfoundingthatformidablemuseumof AmericanartinNewYorkCity),werecol¬ lectorsandpatronsofthefirstrank. heirlegacyfixesoninmanyways, fromthemainbuildingofthe PortlandMuseumofArt(PMA), fundedbyCharlesPayson,toa charitablefoundationestablished intheirnameswithpartoftheproceeds fromthesaleofvanGogh’s Irises, which

Ofcourse,there’salsotheoutstanding collection of Winslow Homers that CharlesPaysonbequeathedtothePMA. Andnottobeoverlookedistheremark¬ ableselectionofEuropeanandAmerican masterworksfromMrs.Payson’scollec¬ tionthatoncewasthecenterpieceofthe JoanWhitneyPaysonGallen’ofArtat WestbrookCollegeandwhichnowadays shuttlesbackandforthbetweenthePMA andtheColbyCollegeofArt,whichgets itforasemester’stimeeverytwoyears. Thissmallbutselectgroupincludes worksbyDaumier,Picasso,Rousseau, Renoirandothergiantsofarthistory.

GilWhitmanGallery/GardenofSculpture offerssculptureinmetal,wood,stone,and bronze,fromtinywildflowerstogiant abstractions.Garden,gallery,studio,and workshopopentovisitors.Site-specific worksaspecialty.Commissionswelcomed. Writeforbrochure.

OUTLET

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Thecollector’sblood,ifyonwill,canbe tracedwaybackinthePaysonfamilyline, especiallyonJoanWhitney’sside.Here, onewoulddowelltoconsultwithJoanne D’EliaPayson,wifeofJohnWhitney Payson,youngestofCharlesandJoan’s fivechildrenandanartcollectorinhis ownright.Joanneiscurrentlyworkingon amaster’sthesisinarthistory'atBryn MawTCollegethatfocusesonJoanWhit¬ neyPaysonandherartcollection.Having alreadycompletedanenormousamount ofresearch,shehasanextraordinary'grasp ofthiscomplexfamilyanditsforaysinto

AFalseHartley

I remember I showed up atJohnLaurent’sstudio one time, and he was absolutelylivid,actually stomping. “Some fool wasjustinaskingmeto authenticateapainting ofMarsdenHartley’s!It wasn’taHartleyatall! Ridiculous!’Ofcourse hisfather,Robert Laurent,wasafriend and contemporary of Hartley’s.Johntookthis asapersonalslight. Other times, when he was happy, he’d smile so wide his ears would falloff.

-JohnWhitneyPayson artcollecting.Thetalesshetellsofmen andwomenandmasterpiecesarethestuff ofhistory'andlegend.

OnemightstartwithWilliamC.Whit¬ ney(1841-1904),who,throughhiswife FloraPayne,marriedintoStandardOil money. As a businessman in his own right,Williamstartedoffratherunsuccess¬ fully,althoughhemadeupforthesefail¬ uresinhispublicservice,whichincluded aroleincleaningupTammany'Hall, NewYorkCity’scorruptpoliticalmach¬ ine,andastintasSecretaryoftheNavy underGroverCleveland.Itwasduringhis watchthatthisdepartmentofthearmed

forceswasrestructuredtomeetthe demandsofthefastapproaching20th century.

Followinghisgovernmentservice, William returned to New York City, determinedtobesuccessfulinbusiness. Heeventuallybecamearailwaymagnate; hislargesseintheworldofculturewas reflectedinthebuildingoftheMetropol¬ itanOperaHouse,amongotherthings.

ItwasWilliam’sbrother-in-law,Oliver HazardPayne,whobroughtaninterestin arttothefamily.IIewasagoodfriendof theHavcmeyers,whohaddevelopeda passionforImpressionistart.Friendsof Mar)'Cassatt(oneofwhoseworkshasjust beendonatedtothePMAbyElizabeth Noyce),theHavemcyersconvincedOliv¬ ertopurchaseDegas,althoughtheBarbizonpainters,suchasMilletandCorot, weremoretohisliking.TheDegashe boughtnowhangsintheMet,willedto themuseumbyanephew,Hari)'Payne Bingham.

Oliver’ssisterFloradiedyoung,and William,somethingofaphilanderer,took upwithEdithRandolph,muchtohis brother-in-law’schagrin.Thetwomen partedcompanyovertheaffair;theirsplit furtherdividedWilliam’schildreninto fathcr/unclecamps.WilliamPayneWliitncy(1875-1927),whowentbyhismiddle name,sidedwithOliverandconsequent¬ lyinheritedthebulkofhisuncle’sestate. PaynewentontocollectFrenchmanner¬ istworks,butalsoboughtworksbyMonet, RenoirandVelaszqucz.

Theotherson,Harry'PayneWhitney (1872-1930),whoremainedinhisfather’s camp,receivedsomethingofaconsola¬ tionprizefromhisuncleOliver:oneof JosephMallordWilliamTurner’smost famouspaintings, JulietandherNurse. Harry’swife,GertrudeVanderbilt(18751942),eventually'gavethepaintingtoher daughterFloraMiller.Intheearly1980s, thepicturewassoldatauctiontobenefit theWhitneyMuseum.

PayneWhitneymarriedHelenHay (1876-1944),daughterofJohn MiltonFlay(1838-1905),poet, journalist,ambassador,privatesec¬ retary'toAbrahamLincolnand,at theendofhislife,Secretary'ofStateunder McKinleyand,followinghisassassination, TheodoreRoosevelt.Anaesthete,Hay wasaclosefriendofHenry'Adams,the historianandphilosopherwhosebook TheEducationofHenryAdams remains oneofthekevtextsonhisera.

THE CHILDREN S MUSEUM OF MAINE

Opensevendaysaweek MemorialDaytoLaborDay

$5perperson Locatedat:142FreeStreet Portland,ME04101 207-828-1234

On Portland’s Waterfront Enjoythesaltyatmosphereof Portland'swindowonthewater! Or—experiencetheviewandawhiff oftheseaonourwaterfrontpatio!

★ ★★l Taste&Tell—MaineSundayTelegramP December5,1993 0 Our Full Menu Served _o from 11 am to Midnight / Best Steamers in Town V Mixing Good People, x.

KENNEBUNKPORT

Afamilyresortwithbeautiful gardens,pool,yardgames, casualcountrycomfortonlya shortwalktothebeach, yetclosetotherestaurantsand shops of Kennebunkport, Wells and Ogunquit.

Together, Hay and Adams were ob¬ sessedwithEuropeanculture—andcon¬ cernedaboutAmerica’slackofit.Among theirfriendswerethepaintersJohnLa FargeandJohnSingerSargent,architect StanfordWhite,andthesculptorAugus¬ tusSt.Gaudens,whodidHay’sbust(John andJoannePaysonownthebronze;the marbleversionwenttoJoanWhitney’s brother,JohnHay“Jock”Whitney).Sar¬ gent’sportraitofHayhangsintheJohn HayLibraryatBrownUniversity,hisalma mater.

Hayhaddualinterestsinart,collecting both American realist and European

InParis

Le Favre was one of my mom’sfavoritegalleries. FrancoisDolttoldme that Carman Messmore took her to see Madame Marquet, widow of Albert Marquet, whose paintingsshecollected. Itwas5floorsup,butif my mother wanted to get somewhere, she’d get there.Afterawhile,she used the power room andsawthatAlbert Marquet had hand painted many of the tiles.Shecameoutof thereandtriedtobuy the powder room! -JohnWhitneyPayson

Renaissanceworks.AccordingtoJoanne Payson,hewasoneofthefirsttobring RenaissanceFlemishpaintingstothis country.

HelenHaywasherfather’sfavorite,and sheinheritedsomeofhistastesinart, includingAmericanrealism(sheowned Sargent’sportraitofRobertlouisSteven¬ son,forexample).Sheandhersister-inlaw,GertrudeVanderbiltWhitney,were very'closeandsharedaprofoundinterest inAmericanart.Helenalsohadaninter¬ estinhorseracing;thefirstpaintingshe gave her daughter Joan Whitney was Degas’ ChildrenandPoniesinthePark,

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Ourtechnicalandlegalknowledgeallowsusto maximizetheresultsweobtain,butit'screativity’ thatsetsusapart.Welookforthebestanswer andrecognizethatlegalproblemsoftenneed businesssolutions.Whilewe'reknownforour depthandexpertise,it'sourcreativethinking that'sproducingbetter,fasterandlesscostly’ways toprotectourclientsandtheirbusinessassets. Callustoexplorehowwecanusecreativityand solidlegalprinciplestoprotectyourproductsof themind.

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whichtodayisownedbyoneofJohn Payson’ssisters.Joanwasgivenitonher 16thbirthday.

Joan Whitney (1903-1975) and her brotherJohn1lay“Jock”Whitney(19041982),inturn,inheritedagreatinterest inartfromtheirparents.Theycarriedon whatJoannePaysoncallsa“friendlyrival¬ ry”ascollectors,assemblingimpressive individualcollectionsofart.

JockWhitneycollectedImpressionist

JohnWhitneyPaysonstunnedtheworldwhenhe auctionedvanGogh'sIrisesforarecord$53.9 million.

andPost-Impressionistart.HehiredJohn Rewald,thearthistorianandforemost authority'onthetwoschoolsofpainting, toadvisehim.WithRewald’shelp,Jock fannedamuseumqualitycollectionthat wasparticularlystronginworksbythe Fauvists,amongthem,AndreDerainand HenriMatisse.TheMuseumofModern ArtandtheNationalGallery’ofArtwere amongtherecipientsofmasterworksfrom hiscollection,includingpiecesbyPicas¬ so,Whistler,Vuillard,Rousseau,Utrillo andSeurat,and,inAmericanart,paint¬ ingsbyBellows,EakinsandHopper.A numberofworksremaininthecollection ofJock’ssecondwife,BetseyCushing Roosevelt,whosefirsthusband,Jimmy Roosevelt,wasFDR’sson.

JoanWhitneyPayson’scollectinghabits weremorepersonalthanthoseofher brother.Shekeptherowncounsel;asBar¬ baraNosanow,formerdirectorofthe PMA, once remarked, “Mrs. Payson boughtwhatsheliked,andwelikewhat shebought.Shesetherownaesthetic compass,ignoringprevailingfashionsand critics’pronouncements.”Ofcourse,

Joan,too,hadherartadvisors,most notablyCarmenMcssmore,whoworked atKnoedler’s,tothisdayoneofthemost prestigiousartgalleriesinNewYorkCity.

JoanPaysonpushedthegenderenve¬ lope,movingoutofthetraditionalsphere ofwomen’sintereststoembracesuch sportsasprize-fightingandbaseball;she alsobackedBroadwayplaysandHolly¬ woodfilms.Shewasthefirstownerofthe NewYorkMets,whichshestartedupin 1962togetbackattheGiantswhenthey movedtoCalifornia,leavingNewYork withoutaNationalLeagueteam.

SomeofthefruitsofMrs.Payson’scol¬ lectingcomprisetheaforementionedcol¬ lection,presentlyondisplayatthe Portland Museum of Art. As Joanne Payson points out, a number of the I lomersinthePMA’scollectionalsocan becreditedtoJoan’skeeneye,including severaloftheNorthSeapicturesand The Cuide.

Today, John Whitney Payson, the youngest of Charles and Joan’sbrood,bearsthemantleof thecollector,althoughheconsid¬ ershimselfadealerandpatronof theartsfirst,anaccumulatorofartworks second.Indeed,hisrealpassion,he’lltell you,isvintageautomobiles.

Johntakesafterhismother,althoughhe saysthatheinheritedhis“weepyeye” fromhisfather.Asheexplainsit,whenhe seesapainting,oracar,thathecovets,his eyeswater—anemotionalresponseto worksofart.Payson’spersonalphilosophy ofcollecting,notsurprisingly,is“Buy fromlove,notfromavarice.”

Paysonhasborneoutthisphiloso¬ phyinhislifeasanartdealer.In the1980s,hebecamedisenchant¬ edwiththeartworldprecisely becauseclientswereincreasingly lookingforthequickturnaround.Healso foundthemarketincreasinglydifficultto forecast;“Itwaslike1lumpty-Dumpty,it keptthreateningtofalloffthewall.”Auc¬ tionswereupanddown,andthoughpeo¬ pleweremakingmoney,Paysondidn’t want,inhiswords,“toplayinthatmessy market.”

Attheheightofhiscareerasadealer, backinthe1980s,Paysonownedthree galleries:HobeSoundinFlorida;Mid¬ town-PaysonGalleriesinNewYorkCity; and Hobe Sound North Galleries in Brunswick,Maine(thislastgalleryfirst openedinPortland).Inrecentyears,he

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hasreducedhisgallery'holdings,firstclos¬ ingtheBrunswickvenue,then,thispast year,Midtown-Payson.'IlieFloridaspace remainsopen;itjustmounteda25th anniversary'show,featuringworksbythe Maine-turned-NewMexicoartist,Lau¬ renceSisson.

Paysonhascollectedasmany'stories aboutcollectingashehasactualartworks. Tirefirstpiecehetrulycovetedwasaland¬ scapeofBoothbayIlarborbyMalvin MarrAlbright,whowentbythenameof Zsissly.Ilecameacrossthepaintingwhile viewingasurveyexhibitionofMaineartat the Colby College Museum of Art in 1959.Hisparentswerewithhimandnot¬ edhisgreatenthusiasmforthework. Somehowhismothermanagedtoacquire it,andlowandbeholdJohnreceiveda wonderfulsurpriseforhis21stbirthday. TheZsissly,hesays,followshimwherever hegoes.

Askhimabout“theonethatgotaway,” andhe’lltellyouaboutafewthatnearly did.Therewas,forexample,theWilliam ThonseascapethathesawattheMid¬ townGallery'oneday'(thiswasbeforehe ownedthegallery).Whenheaskedthe owner,Mary'Gruskin,aboutit,sheregretfully'reportedthatithadbeensold.Ayear later,onareturnvisittothegallery', Paysonexplainedtoagallery'assistanthow muchhehadruedthelossoftheThon. Hedescribedthepicture,andtheassistant raisedhiseyebrows.Itturnedoutthat Mrs.Gruskinhadbeenmistaken;the assistantfoundthepictureinstorageand Paysonpurchasedit.

Whenhismother’sestatew'asdispersed, Paysonaskedhisfatherifhecouldbuythe stonecatby'WilliamZorachthathad beeninthefronthalloftheirhousein Manhasset,LongIsland.Heofferedtopay’ whateverSotheby’sappraiseditat,proba¬ bly'around$8,000.Hisfatheraccepted thedeal.Whentheappraisalwascom¬ pleted,the“anonymouscat”waslistedat $150.“Myfatherroaredwithlaughterand soldittomeforadollar,”Paysonrelates. Sincethen,hehasaddedabronzeand severalfiguralpiecesbyZorachtohiscol¬ lection.

Ofcourse,therewereafew'that didgetaway.ThepicturePayson missesmostisJacobLawrence’s TheWedding, whichheowned. LackingaLawrencecanvasto displayinhisgallery'sboothattheChica¬ goArtFair,hereluctantlyputthepiece in,placingaveryhighpriceonitsothat

itwouldn’tsell.Amajormuseumcame alongandpurchasedthepainting.Five yearslater,Paysonstillkickshimself.He alsomissesaFairfieldPorter,whichwent withhisfirstwife,NancyLawler,when theydivorced.

Thesedays,Paysonhaslostnoneofhis collector’spassion.Askedaboutsomeof hisfavoriteartists,hewaxespoeticabout theaerialnightviewsofYvonneJacquette, whomhereferstoas“oneofthemost excitingartistsaround.”Hestillwantsa JacobLawrencefrom1950s;“Lawrence willbeknowninthefutureasoneofthe leadingsocialcommentaryartistsofthe 20thcentury,”Paysonavers.Andhe’d lovetoownanoutdoorsculpturebyBill King.

Inthenextbreath,however,Payson claimsthatit’shiswife,Joanne,whoisthe truepassionatecollector.WhereJohnhas focusedonpost-WorldWarIIartists,wish¬ ingtosupportlivingartistsasmuchashe can,Joannehassethersightsonearlier Americanart,inparticularAshcanSchool artistslikeJohnSloan.LeeJackson,Regi¬ nald Marsh, Paul Cadmus and Isabel Bishopareotherartistswhoseworkshe hasacquired.

Animportantresponsibilityofthecol¬ lector,inPayson’sopinion,isthattheybe willingtoloanartworkstoexhibitions, especiallytoshowsoflivingartists.Acol¬ lector’snameonthelenderslistmayhelp outtheartist’scause,henotes.Somecol¬ lectorsrefusetoloanworksofartforfear ofhavingthemreturneddamaged,an unfortunatestateofaffairswhichtroubles Payson.

ManyoftheartistsPaysonplaces onhisfavoriteslistarewell establishedpainters,including BeverlyHallam,WaltKuhn, JackLevineandBernardLanglais.Yetheisalwaysonthelookoutfor newtalent.ArecentfindisPeterMaier, anartistwholivesinthePoconos.Maier specializesinpaintingsofautomobiles— thecarasiconofthe20thcentury.Payson issotakenwiththeartist,hehasbeenserv¬ ingasakindofunofficialagentforthe artist,whoprimarilysellsoutofhisstudio. Astudiovisitremainsasignificantpartof Payson’scollectinganddealingrounds. “I’mlikeanelectriccarthatneedstobe pluggedinonceandaw'hile,andthestu¬ diovisitchargesmeup.”Helovesthe ambienceoftheatelier,viewingworksin progress.Herecallsthespecialpleasure andhonorhefeltwhenJacobLawTence

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Bernard“Blackie”Langlais’studioin Cushing,Maine,wasoneofPayson’s favoriteplaces.Heremembersthepower¬ fulLanglaisswinginghissawabout,cre¬ atinghisbigwoodsculptures.“Hewas oneofthethreeorfourartistsIwentto whenIdecidedtobeadealer,”saysPayson.Hisgreatestmentorintheartdeal¬ ing business was Harr}' Brooks at Wildenstein & Company in New York City.“Hecombinedakindofoldworld sophisticationinhisbusinessdealings withagreatloveofwhathewasdoing.” Ofcourse,Paysonalsoreceivedinvalu¬ able training from his mother. He remembersbeingwithheronedayin PalmBeachandpassinganartgallery. “Let’sgointhere,”hesuggested,towhich hismotherreplied,“Thatgalleryhassold moreUtrillosthanUtrilloevery'dreamed ofpainting!”

Whatoftoday’sartworldandthefateof governmentfunding?“I’monasoapbox whenitcomestofederalartssupport,” Paysonstates.Hethinksofhimselfasan “endangeredspecies,aRepublicanwho believesintheNationalEndowmentfor theArts.”Federalgrantsoftenserveasthe cornerstonesofcapitalcampaigns,he notes,lendingasenseofsecuritytopoten¬ tialdonors,whooftenlookupontheirgift asamatch.

InMaine,hesecsgrantorganizations suchastheMaineCommunityFounda¬ tionhelpingruralartsgroupskeepafloat orsupplyingneededseedmoneytoget themupandninning.“'Ilieartsdosoothe thesavagebeastinman,”heremarks, “andcontributetothewellbeingofsmall communities.”

Mainemuseumsandartsorganizations receivehighmarksfromonewhohas servednearlyallofthem.Paysonspeaksin glowingtermsofthePortlandMuseumof Art—’’thehappiestplacetogointhatI know” —and raves about president WilliamHamill,directorDanO’Leary, andcuratorsJessicaNicollandKenneth Wayne.Healsohasnothingbutpraisefor theColbyCollegeMuseumofArt,the FarnsworthandBowdoinMuseums.And hecallstheSkowheganSchoolofPaint¬ ingandSculpture,whichiscelebratingits 50thanniversarythisyear,“oneofthe mostexcitingartschoolsintheworld.” Payson’sactivismonbehalfofthearts hasledhimtotakepartinletter-writing campaignsaimedatunseatingpoliticians

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whoopposeartsprogramssupport.Heis in-volvcdwiththeFloridaArtsPact,a politicalorganizationthatseekstoencour¬ agepro-artslegislation.Onewouldn’t envisionPayson’sparentscarryingonin suchapublicfashion,andyetthey,too, wereartadvocatesintheirday.

Paysonhasalsobecomeinvolvedinart conservation.Attheencouragementof

Know Your Paysons

H.M.Payson,atfirstunsuccessfulinbusiness,wenttothe California Gold Rush in 1849, came home, and started the extremely conservative investment banking firm of H.M. Payson, which survives today.

J.B.Brown,thewealthiestmaninVictorianPortland(the J.B.BrownblockonCongressStreetbearshissignature), “was my great-grandfather and my father's-Charles Shipman Payson’s-grandfather,' says John Payson. “He donatedtheoriginalfundsforthebuildingofSt.Mary’s Episcopal Church on Foreside Road."

Roger Snow of Falmouth, former congressional candidate and owner of the WestbrookAmericanJournal, 'isacousin. Hismotherwasmyfather'soldersister,’saysJohnPayson. DerekPayson,theinvestmentbroker,“ismyfirstcousin," says John Payson. Bom in 1935, he lives on Winslow Road,Falmouth,nexttoShorelineDrive.

Harold C. (Pays) Payson says. "My father was George Shipman Payson. Serenity House (the J.C. Stevensdesigned Mellon Street mansion) was his grandmother’s house. Her name was Louise Thaxter Payson. She was relatedtoPhyllisThaxter."PhyllisThaxterstarredwithVan Johnson in the movie “30 Seconds Over Tokyo." Last summer, a Payson auction was held at "my mother’s and father'shouseat187ForesideRoad.Myparentsboughtit backin1949.I’madistantcousinofJohn’s."

Martyn Payson, vice president for development at Morse, Payson & Noyes, is the fourth generation of Paysons to workatthefirm,whichdatestothe1880s.HeandJohnare cousins.

KatherineWatson,directoroftheBowdoinCollegeMuseumofArt,heserved ontheboardandnowsitsonthepresi¬ dent’scounciloftheWilliamstownArt ConservationCenterinWilliamstown, Massachusetts. The environmental movementbeckonshimaswell;hewillbe keynotespeakeratanupcomingNatural ResourcesCouncilmeeting.

Payson’ssisters,Sandra,PayneandLorinda,areinterestedinart—twoofthem recentlyattendedtheCezanneexhibition andsymposiumatthePhiladelphiaMus¬ eumofArt—buttheyhavenotmadealife ofitasJohnhas.Atonepoint,theoldest sister,Sandra,establishedafundtohelp supportupward-boundartists,butshehas, accordingtoJohn,goneontootherinter¬ ests.

“Wedon’tcompete,”Paysonsaysof himselfandhissiblings,andoffersasan examplethedistributionofhismother’s estate.Expectingwarfareamongtheoff¬ spring,theexecutorsofJoanWhitney Payson’sworldlygoodswereinsteadcon¬ frontedwithwhatJohndescribesas “AlphonseandGaston”courtesy—“No, please,afteryou.”Thisfriendlinesshe tracesbacktohismother,who,herelates,

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soldherinterestinagalleryinPalm Beachwhenheopenedhisfirstartspace inHobeSound,notwishingtocompete withherson.Shewas,inhiswords,“a wonderfulcharacterbuilder.”

Inaninterviewconductedafewyears ago,Paysonnotedthatwhilehedoesn’t particularyenjoypublicscrutiny,“Ielect¬ edtohonormyparentsbykeepingtheir

TheVanderbilt Connection

IfyoutourTheBreakers, the Vanderbilt Mansion inNewport,theguide mightalludetooneof the upstairs bedrooms astheplacewhere“little Joanie Whitney used to staywhenshevisited here.”

“I’msurprisedthey tossedthatinthere,” says John Payson. “Of course, her aunt was GertrudeVanderbilt Whitney, so she might verywellhavevisited thereasayounggirl.”

artandtheirnamesbeforethepublic.”He hassucceededadmirablyinthistask, althoughithasnotbeeneasy.Ashestat¬ edbackin1991:“It’sbeenawildride... WhenIstartedasadealer,Italkedjustto artists.ThenwhenIgotalittlesuccessful, Italkedtoclients.ButnowIspendmostof mytimetalkingtolawyers.”

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oday,Paysonisthinkingabout 'I'writingabookabouttheartbusiI ness. He might use a pseudoInym—“not,”hesays,sothathe JL canmakeabundlelikeJoeKlein, authorof PrimaryColors, “butsoasto avoidalotoflawsuits.”Thatbook,along withwifeJoanne’smastersthesis,should makeforsomefascinatingreading.I,for one, can’t wait. ■

CarlLittleistheauthorofanumberofartbooks, including Paintings of New England, forthcoming thisfallfromDownblastMooks.Heisdirectorofpub¬ licaffairsatCollegeoftheAtlantic.

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TheBrushians,byElaineWardQasazza, IX)Box-IS2,Limingion,Maine 04049. Thisslimvolume,writtenbyadescen¬ dantofoneof“TheBrushians,”Portland’s welllovedgroupofPost-Impressionist weekendpainterswhohauntedscenic areasherefrom1860-1930,isauthorita¬ tivebecauseauthorElaineWardCasazza hastakenpainstoconsultwithother Brushiandescendantsduringherre¬ search,andindoingthis,hasgiventhe workanintimate,memoir-likefeel.

AccordingtoCasazza,GeorgeMorse helpedstart“TheBrushians”(alsosome¬ timescalled“TheBrush’tins”)around 1860,whenhewasjust26.Inthecoming years,ledbyMorse,whomtheynick¬ named“TheBoss,”theoriginalfive Brushiansgatheredtogetheronweekends andcouldbeseenpaintinginDelano Park, Cape Elizabeth (where Morse, eventuallythetreasurerofthePortland Company,fabricatorofboilersandother shinynewmachinesforVictorianPort¬ land,ownedaShingleStylecottage);the rocksoppositeRamIslandLedge;Back Cove;andeven,uponoccasion,metro¬ politanPortlandorontheslopesofthe WhiteMountains.

Instantlyrecognizablewithhiswhite, foot-longbeard,Morse,whokeptawin¬ terhomeat301SpringStreet,“startedas adraftsmanforthePortlandCompany. By1873heisknowntohavebeenthe treasurerofthiscompany.In1917,atage 83,hewasmadepresidentofthePortland Society'ofArt(nowthePortlandMuseum ofArt).”

HarvardArmstrong“ownedtheJ.W. ArmstrongCo.,apopularstore&restau¬ rantatCapeElizabeth.Healsoservedas thetownconstable.”AtypicalBrushian outing,Casazzareports,wouldoften beginwithastop“atArmstrong’s‘eater}’’ beforeleavingforapaintingtrip.”Arm¬ strong,notmuchofapainterhimself,was oftencajoledintocomingalongandwas nicknamed“TheConstable.”Thefirst groupofBntshians(asortofDream"Team 1)alsoincludedEdwardS.Griffin,“The Carver,”whocarvedmoreofPortland’s shipfigureheadsthananyotherman(as wellastheinteriormoldingsoftheCum¬ berlandClub).Createdinhisworkshopat 50ForeStreet,Griffinfigureheadsregu-

larlyglidedintoportsasdiverseasCan¬ ton,Batavia,andSingaporeaspartofthe AmericanChinaTrade.Asurpassingly fineself-taughtillustrator(hefinishedhis careerat45ExchangeStreetasownerof theGriffinIllustratingCompany),healso carvedthestatueofthefiremanthat standstothisdayonCongressStreetin frontoftheheadquartersofthePortland FireDepartment.Hisson,WalteiGriffin, whooftenhelpedcarry'hisfather’sgearto paintingsites,wouldbecomeamajor Americanpainterby1911andbeinduct¬ edintotheNationalAcademyofAmeri¬ canArtists (PortlandMagazine, Septem¬ ber,1994).RegardingEdwardGriffin’s paintings,Casazzawrites,“itissaidhe usedlavishcolor...somuch(so)...thatit wasoftennecessary'fortheBrushiansto soakallthehighlycolored’art’off‘The Woodcarver’withbenzine.”

The“stairbuilderandcabinetmaker”C. F.Kimball (“TheOldMaster”)andthe Rev.HenryG. Clark(FirstFreeBaptist Church,SouthPortland)roundedoutthe originalfive.Kimball’sworkreceivesa gooddealofpraisetothisday,andCasaz¬ zanotesthatoneofhisetchingsappeared atashowattheMuseumofFineArtsin Boston.Rev.Clark,Casazzareports,was called“TheDeacon”bytheotherBrushi¬ ans.

AnewsetofBrushianscarriedthetorch intothe20thcentury,includingarchitects JohnCalvinStevens(“TheOldMan”) and Frederick A. Thompson (Channel 6’sbeardedformerCEO,BruceMcGorrill,livesinthehouseThompsonde¬ signedforhimselfon33CarrollStreetin Portland’sWestEnd).Welearnin The Brushians thatbothmenwerewritersas well,publishingtheirworksin ThePine TreeMagazine, 45ExchangeStreet,not coincidentallythesamelocationwhere Griffinkepthisillustratingstudio.Other BrushiansincludeFrederickJ.Isley(en¬ gineer,CumberlandCounty'Power& Light),DA.Fisher(alsoCCP&L),John Wood(N&T.J.WoodPatentMedicines, ForeStreet),WalterBailey(paperhang¬ er), C.C. Mc-Kim, Thomas F. O’Neil (policeman),andMillardBaldwin(in¬ suranceexecutive,111ShermanStreet). WithPost-ImpressionistAmericanwork inhighdemand,aflipthrough The Brushians isagreatfirststepforany regionalcollector.Thebook’srealtreasure-aletterfromThompsontoMorsein 1909describingaBrushianouting-is worththepriceofadmissionalone.■

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StoryByColinSargent

WHEN I FIRST MET Samrith

Chap,” says USM Gallery DirectorJurisUbans,“hewas doingpseudo-Britishkinds offonnalthings,stilllives,you know-anythingbutsomethingfromhis emotionallife.Hewasafantasticartist, buteverywhereinhisworkhewasavoid¬ ingthekillingfieldsofCambodia,where he’dgrownup.Wemadeaconnection withhisemotionallife,andeverything tookoffafterthat.IIelivesupinDoverFoxcroftnow.Yououghttolookhimupif you’rereallylookingforsomethingnew.”

SamrithChap, 34, is new. One of Maine’smostpromisingyoungartists,he runsFoxcroftFramingandliveswithhis wife,LauraChap,anartteacheratDoverFoxcroftElementarywhomhemetwhile theywerebothartstudentsatUSM;his3year-olddauther,OliviaChap;and14month-oldson,ForestChap.Personable andfunny,he’sasurvivorofanunspeak¬ ablelifethathenowdarestoapproach withhisart.

The breakthrough moment, Samrith says,happened“whiledrivinghomebetweenmysecondorthirdyearofcollege. AllofasuddenIwasabletodoapainting aboutmytwinbrothers,sister,andfather whodiedintheCommunistwars.Actual¬ ly,it’sarecordofmywholefamily. There’saredbackgroundwithblackfig¬ uresonit,barelydistinguishable.It’sof meandmymomholdingmydeadsister. Twofigures,mytwinbrothers,arelying down.'Hienalarger,darkerfigureonthe ground.Myfather.”

Theyweren’tshot,theyweretorturedto death.“1lostmysisterandoneofmytwin brothersonthesameday.Youhaveto understand-underthecommunists,you workallthetime,sevendaysaweek,16hourdays.Ifyoucanremembertheyear, you’relucky.Youhavenowatchtogoby, nothing.Mysisterandthetwinbrother diedofstarvationanddiseasein1977, duringmonsoonseason.Myfatherdied ofstarvationinNovemberorDecember

theyearbefore.Heprettymuchdiedof exhaustion.Hecouldn’tholdanything down.”

Didhehaveanylastwordsforyou?

“Itwasn’tlikeinamovie,whereaper¬ sonhasalastbreath.Everybreathwashis lastbreath.Youdidn’tknowwhichone.

“BackthenIwas16or17.Wewere orderedtomoveoutofthecityandinto thejungle.Wewereorderedtoclearthe fieldsandplantrice.Weworkedunder thecommunistsfor5yearsofstarvation, death,andmurder.Intheenditwasjust bodies.It’simpossibletoguesshowmany peopledisappearedaroundme.”

WhentheVietnamesesoldierstookover in1979,hesays,“werealizedtheywere communiststoo,wedecidedtoescape. WeheardabouttheFreedomFightersat theborderofThailand.Wewentatnight, throughthejungle.Itwasverydangerous.

Onenightwefoundapondandwentto sleepbesideit.ThenextmorningI walkedovertogetsomewater,andthisis what1saw.”Heholdsupapictureofa pondfilledwithbodies.There’sapretty, abstractlayeroffloatinggrassobscuring thesurfaceofthepond.Fourfeetbyfive feet,thispowerfuloiloncanvasisentitled Grass.

“We saw many corpses on the way, killedbyexplosions.Wegottotheborder andstayedtherefor3or4months.But theFreedomFightersoldiersquarreled withtheThaisoldiers,andaITiaiofficial waskilled.”ITeThais,nonnallyapeace¬ fulpeople,bombedthecamp;120-130 peopledied.

“Afterthat,wemadeittoarefugee campinThailandandstayedforabouta year,thenmovedtothePhilippinesfor6 monthstolearnEnglish.Wecamedirect¬

lytoPortlandin1981.Welivedinthecity forawhileandthenmovedtoCapeEliz¬ abeth;1graduatedfromCapeElizabeth HighSchoolin1986.AtUSM,majoring inart,1graduatedinMay,1990.”

SamrithassimilatedperfectlyintoPort¬ land,butbeinganartistisnotabout assimilating,andtodayhe’sgratefulto UbansandhisotherUSMartprofessors forthetimetheytooktoleadhimbackto hiscentralsubjectmatter.

“Ipaintspontaneously,”hesays.“1can’t planaheadtopainttoolong.If1tryto planapainting,usuallyitdoesn’twork andIneverfinishit.Whenthingsgowell, Iusuallydo3-4hourstretchesovertwo days.DayOneisideaday,whereIget thingsdown.Onthesecondday,Ifinish it.Doyouseethispainting?Ialmostgot killedwhenIwasorderedtogetsomefish andtooksomefromthewrongpond.The ladycryingismymother.Therearethe guardstellingherthatthepunishmentis death.Andatthebottom?”1Iepointstoa gorgeous,luminescentfishatthefootof thepicturealmostfondly.“That’sthefish whostarteditall!”

Paintingdirectlyfrompersonalexperi¬ encetakesatoll.“It’semotionalpainting. Myworkisabstract,butveryreal.Imagine peoplethinkingthattheabstractisn’t real.”Andyes,Samrithsometimescries duringthesesessions,becausetheimages heworkswitharenotpurelydecorative butareratherhisrelatives.

NeighborAlanBrayhastakenalotof interestinSamrith’swork,andSamrith relishestheirmanyconversations.“You know,hisworkismoredetailed;it’sout ofthisworld,”hesaysofBray.“There’s realityoutthere,butwhenhetranslatesit it’sdetailedandspecial.Myworkishard toexplain.SometimesAlanwillseeitand say,‘Definethispartofthebody,the weapon,thericefield.Forexample,the hand.Justdefineitalittlebit,soyouknow whatitdoes.’Ilistentowhateveryonesays aboutmywork,becauseanyadviceisbet¬ terthannoadviceatall.”

Rightnow,youhavetocallSamrithto seeoneofhispaintings.“Mylifeissohec¬ ticandbusy.IstayhomeandwatchOlivia andForest.Atmyframeshop,1usedto showsomeofmywork,butnowthere’s notime,”becausehe’spaintinglargecan¬ vasessoprodigiously.

Asanoldestson,Samrithisproudthat hisfamilyisnowdoingextremelywell. “MymomlivesinScarborough.Oneof mybrotherslivesinMassachusetts,the

otherjustgraduatedfromColbyandlives upherewithme.Myyoungestsisterisa senioratBates.”

IIehasnoagentandnogallery.Youcan reachhimat(207)564-3421.

THERE ARE A EEW years that HelgaPoznanskiofKennebunk¬ portdoesn’tpaintdirectlyabout, either—1942-1947.“BeforeIwas 131hadveryhappymemories,” shesaysofherchildhoodinhernative Tartu,Estonia.1was8whenwemoved tothecapitalcityofTallinn.“Myfather wasajudge,mymotherwasadentist.I wasveryprivileged,anonlychild.”The entirefamily,thoughdevotedtolawand medicine,lovedartaswell.“Asayoung man,againsthisparents’wishes,myfather ranofftoartschoolinParisintheearly 1920s,”shesays.JustthenPariswasatits zenith,andhefellintoagroupthatlaid thegroundworkforsomebreakthrough “constructionist”workhedidinthe 1940s.“Butheendedupburningallhis workinrebellionagainsthisfather,who didn’tappreciateit.Finally,hewentto lawschool,ni)'grandparents’dream.But healwayslovedart.Mymotherwasthe daughterofarenownedjewelry'designer, too.Wehadwonderfultimestogether.”

Thencametheblackyears.“In1941 therewerebigdeportationstoSiberia fromEstonia,wheretheytookwholefam¬ iliesanddeportedthemtolaborcamps.I wasvisitingmyuncle’shouseinthecoun¬ tryinJune,and1remember1wasinan argumentwithmy12-ycar-oldcousin,so my'uncledrovemebacktothecityand myparents.Thatsamenight,everyone wasputintocattlecars.Myuncle’swhole familywasgone.”

Helgaisquietforawhile.“IfI’dstay’ed overnightthere,1mostcertainlywouldbe deadrightnow.Later,”shesays,“during a‘mobilizationarrestation,’theytookmy fatheratrandom.Theywentafterthe intelligencia-lawycrs,businesspeople,

clergy.Outofjustonemillionpeoplein Estonia,morethan200,000peoplewere takeninafewdays.That’sahugenum¬ ber.1havebeentoldthatmyfathermade itbackhomein1958or1959anddied backinEstonia.It’sfunny'howIdon’t remembersuchanimportantdateinmy life.Thedateisn’timportant.Youblock thatout."

InWorldWarII,theGermansoverran Estonia.“Theykickedmy'motherandme outofourapartment,buttheyneededmy mother’sskills,sowewerelucky”and weren’tdeportedtothedeathcamps. “Theyforcedmetocleaninhospitals,but Iwasallowedtocontinuemy'studies. Whenthewarwasover,theSovietstook controlagain,”andwhatwasleftofHel¬ ga’sfamilyescapedtoVienna.

There,followinghermother’swishes, HelgabecameamedstudentattheUni¬ versityofVienna,“but,”shesmiles,“I studiedattheArtInstituteofViennaas well,”doingagooddealofillustrative work.“Iwasanartistbyheartat16.” Finally,shewasgrantedaworkpassto emigratetoCanada,“whichwaseasierto enterthenthantheUS.”Thedealwas thatshehadtocleanhospitalsforayear. “Itwasn’tallthatdifferentfromwhatthe Germanshadmedo!”

Havingservedoutthetermsofhercon¬ tract,Helgaputherpastbehindher,went totheFashionArtsAcademy,andbe¬ cameasuccessfulfashiondesignerin MontrealandNewYorkfor18years.“I designedready-to-wearclothing,dresses. Withonecompany'wewenttoParisand copiedsomethings.Iwaspaintingallthe while,though.”Duringthisperiod,she metandmarriedherhusband,anengi¬ neerwho’dlosthisfamilytotheGermans inPoland.They'livedfirstinMontreal andthenmovedtoBrookline,Massachu¬ setts.About30yearsago,they'spenttheir firstsummerinKennebunkport,which strikinglyremindedherofBalticseacoast townsshe’dloved.They’vebeensummer¬ inghereeversinceandpresentlylivein the Tamaracks condominiums on Main Street,withviewsofthesea.

“Originally,IcametoKennebunkport tostudyunder(acclaimedwatercolorist andinstructor)EliotO’Hara,”buthe’d grownillandwascuttingback,“soEd Whitneytaughtme.IwenttotheArtStu¬ dents’LeagueinNewYorkinthelate 1960sandearly1970s.Therewerealotof famouspeoplethere-evenJacqueline Kennedy,though1neversawhersetfoot

inastudio.Later,whenIwasinmyfifties, IstudiedattheMuseumofFineArtsin Boston,”whereshewonafellowshipto studythereafourthyear.

Butwheredotheblackyearscomeinto herart?

“Rightnow(herwatercolorsareondis¬ playatMastCoveGalleryinKenne¬ bunkport),myworkisabstract.I’mdef¬ initelyacolorist,andthat’swheremyear¬ ly,happyyearscomein.Iusevery'strong colors,notnecessarilybrightcolors. Igetthatstrengthfrommycountry.”

Soyoupurposelyavoidthesadyearsin yourlife?

“1likeitwhenthecolorandmovement inmypaintingstranscendthesadness. Somepeoplearehigh-tidepeople,and othersarelow-tidepeople.I’mhightide. Tiresadnessisthereinthecolorsbecause ofallthepeoplewhohavebeenlost.But thesadnessisforallthepeople,notjust theEstonians.Iwantpeopletobehappy whenthey'seethesecolors.”

Shestopsasecond,thinking.

“IguessI’mhighlycriticalofpeople whopaintaboutpaststhataren’ttheir own.”

Very'briefly,shecitesthenewflockof artistswhomakecareersaboutpainting abouttheHolocaust,forexample,even thoughtheyhavenopersonalconnection toit.Overtime,Helgafeelsit’sacrime againstart;thattheexploitationwillbury itselfdeepintothework.

WithHelga,theexuberanceofhercol¬ orsanticipatestheexplosionsofwarbut leapsbeyondthemtowardahumanistic ideal.InthisUrperiodofherchild¬ hood—andhercountry’s-thcreisasweet worldthatexistsbeforeallwarsandwillbe standingafterallwarshavecomeand gone.Oneofherrepresentationalworks of10yearsagoshowssomeweedsbyan Estonianroadside. Whyweeds,andwhya roadsideinsteadofameadow? youwonder atfirst.“Ifyoulike,it’sjustapictureof someplantsofutterinsignificance,”she says,aplacewherehistorymightdropits cigarette.Butifyousitbytheweedsa while,youcanfeelthewindcoming. Somethingterribleisabouttowhizby. Andyoucanwatchtheweedstriumph alongwithHelgalongaftertheterrible yearsaregone.

“I’mnotexactlyastarvingartist,”she pointsout.“WejustgotbackfromParis. I’m69,”shelaughs.“I’mallwrongforthis story'.”

All wrong. ■

WhenIlivedinManhattan,I hadtowalkthroughSohoto gettoandfrommyloft.Itwas awalkthatshowedoffthede¬ pressing extremes of New York—modelswithfamousfacesinside¬ walkcafesnextdoortofacelesswomen andmenpushingshoppingcarts,rustling throughdumpsters,andpleadingfor sparechange.Mostly1walkedstraight homeasfastasIcould.

ButeveryonceinawhileIwould stopinforsomereliefataglassartgallery onWestBroadway.Steppinginsidewas likegoingfrommonochrometo Kodachrome. The room, narrow buthigh-ceilinged,seemedtohave moreandcleanerairthanallof NewYork,andthecoloredglass vesselsfloatedlikebubblesonhigh shelves.I’dtiptoethroughthe room,gaspingforbreath,then leavethegallery'likeyou’resup¬ posedtoleavechurch—rejuvenat¬ ed,readytosecgoodintheworld, andmaybeevenbelievinginGod. 'Chemagicthatisblownglasscan bedescribedinchemicalterms;its ancienthistorycanberecounted, itstechniquesexplained.Butlike anymagicitremainsawe-inspiring evenwhenitssecretsarerevealed. WhatmadetheSohogallery'so transformingwasinlargepartthe natureandformationofglass:sand, sodaandlimeheatedtoamolten liquidandbroughttolifewitha humanbreath.Butthearrange¬ mentoftheglassware—sparse,sub¬ tlyilluminated—wasalsocrucialto creatingthegallery'sother-worldly atmosphere.

There’saperceptionoffragility,imper¬ manence,butinfactglassisverysturdy.” Herhusbandismoredirect:“Metalrusts. Ceramicbreaks.Aleatherjacketwill tear.”

Makingglassaccessibleisnotjustamat¬ terofconvincingpeoplethatitisusable;it isalsoamatterofmakingitaffordable. ThoughtheSteinGalleryhasanational clientlistandshipsmorepiecesout-ofstatethanin-state,theownersmakean effortalsotocarrysmalleritems—bud vases,paperweights,jewelry.Theytella storyaboutafishennanwhocameinfrom

overall,ratherthanacuratorial,appeal. Onceyoubegintolookattheindi¬ vidualpieces,however,theethe¬ realmakesitspresenceknown. Someoftheworkbytheover75 nationalartistsrepresentedbythe galleryisscreaminglycontemporary:arch¬ itecturallyinspiredsquare-stemmedglass¬ es;vasesw'ithsharpanglesandimpossible bends.Butmostofithassomeconnec¬ tiontothepast.Theamphoraandother ancientshapesareredoneinnew'colors: transparentaquas,lavenders,andmel¬ ons.Oneisapplegreenwiththeoutline ofafaceonthesurface,andearrings hanging from the two handles. Vases by partners Steve Fell¬ ermanandClaireRaabearealso Classicalinshape.Butthemotifs sandblastedontotheformsseem evenolder.Thesimpleswirls,elon¬ gatedtriangles,andprofilesoframs andfiguresonhorsebackareremi¬ niscentofcavepaintingsandaborig¬ inaldesigns.Thesevases,inbold, contrastingcolors(royalonaqua, blackonred,blackonochre),bring thepastintothepresent.

You’re inaboardroomatthetopofthecity,inabankorlegal office,waitingforthepaperworktosign.Absentlyyoulookacross theroomtoatableuponwhichthereisasupernaturalglow...

Sleio G1ass

ByFrancesLefkowitz

UphereinPortland,theSteinGallery onMilkStreethasadecidedly'different charter.OwnersPhilipandAnneStein employasomething-for-cvcryoneattitude becausemany'Mainershaveyettocollect theirfirstpieceofglass.Accordingtothe Steins,twomisconceptionshaveplagued themsincetheystarteddealinginblown glassovertwentyyearsago:1)glassisfrag¬ ileand2)glassisunaffordable.Manyof theirdecisionsaboutthegallery'seemto stem,consciouslyandunconsciously, fromtheirstruggletochangethesetwo attitudes.“Glassisnomorefragilethan any'othermaterialthatyoucanmake thingsoutof,”saysAnneStein.“Itdoesn’t fade,rust,rot,ordeteriorate.Thereare piecesthathavelasted3000years....

thedocksoneafternoonlookingfora birthdaypresentforhiswife.Hecouldn’t affordanythingintheshop,hesaid,but wanted to look around anyway. The Steinssteeredhimtowardthelow-end shelves,wherethemanwasdelightedto findahand-blownperfumebottlefor$50. “Now'w'e’regettingeverybodyfromCom¬ mercialStreet,”saysPhilStein.

Everythingfromtheselectionofthe piecestotheirarrangementintherooms emphasizestheaccessibleratherthanthe etherealqualitiesofglass.Theglasssitson easy-to-reachpedestalsandw’hite-w'ashed adjustableshelves.’Hieclienteledoesnot feeltheneedtowalkontiptoeortalkin hushedtones.Thepiecesarenotpresent¬ edingroups,artist-by-artist,butinstead aremixedthroughoutthestoreforan

Glasslendsitselftotheintegration ofdisparateelements.Ancient themesmixwithmodern;function¬ alshapesmixwithsculptural.Some oftheexcitementincontemporary artglasscomesfromexperimenting withdifferentmethodsofworking theglass.AsAnneSteinsays,“There areveryfew',ifany,newtechniques. Buttherearenew'combinations.” NealDropnis,forinstance,com¬ binesblowingwithcasting.His oblong“LunarEclipse”bowlis blowm,thencastintoasand-carved mold,thenblownagain.Theresultisan imprintedbowlwithroughandsmooth textures,bothsturdyanddelicate.Con¬ tainersbyRobertSpielholzandKathleen Hargravelookasiftheyhavebeenpaint¬ ed.Theyusethe graal technique,in w'hichglassenamelsaremixedwithoilor w'aterandbrushedontotheformsinbold strokesofcolor.

Glasswasfirstafunctionalmaterial,and thefirstblownglass,whichwasmade around50BC,w'asprobablymadeto holdthings.Evenasglasshasbecomea moreartisticmedium,itremainscon¬ nectedtoitsfunctionalroots.Though theycouldbemakinganything,glass artistsoftencreatecontainers—bow'ls, pitchers,vases—which,thoughtheymay

Inspiredbynature’splayfuluseofcolorinwatermelonandbi-colortourmaline,wetoohavefound waystocombinethecolorsofMainetourmalineinbracelets,pins,pendantsandrings.Ofspecialinterest” areourIntarsiaMainetourmalineassembliesliketheringupperleftcalledStrawberryFields 1M inwhich colorsarejoinedwithbandsof18Kgold. Thisisjust16ofourcollectionof700piecesofMainetourmalinejewelry.

ADAMS AUTO GLASS

beworksofart,arestillfunctionalinform. Theperfumebottleisacaseinpoint. Thoughthisshapehasbeenblownfor thousandsofyears,itstillintriguesglassblowers.WhiletheSteinsrepresentmany artistswhogenerallyworkinlargerforms, itisanexcellentexample,inminiature,of glassshiesandtechniquesandincludes bottleswithintricatelamp-workedfigures, ultra-contemporaryangles,brushed-on colors,sand-blastedtextures,engravings, andfigurativesculpture.

Thiscrossoverbetweenfineandfunc¬ tionalexplainswhytherearebowlsinthe gallery’ssculptureroom.Itmayalsogive someinsightintoLisabcthSterling’swork, whichputthefemaleformontobowls andvasesinadirectstatementaboutthe linkbetweenwomanandvessel.Sterling carvesandengravesthesurfaceofthe glasswithdetailedrenderingsofthe humanfigure,mostlyfemale.Onebowl, longandovalwitharoundedriseinthe bottom,becomesthebodyofapregnant woman,withherroundedbellyprotrud¬ ingfromthebase.

Evenwhentheglasssculpturegetsaway fromfunction,thereisalotofmixing goingon.StephenJonClement’slarge mixedmediapiecesrecallthemasksof NativeAmerican,Nordic,andAfrican peoples;hisglassiscloudedtolooklike quartzandamethyst.MelanieGuernsey’s figuresaremadebytraditionalcasting methods:shesculptsinclay,makesa moldfromtheclay,thenfillsthemold withmoltenglass(ratherthanmolten metal).Herfigures,whitefrostedglass mountedongraniteslabs,arcaboutas earthyandruggedasglasscanget.

Thebackroomhastheambienceofa cocktailparty:thelightislow,theroomis crowded,andthelowpedestalsfeellike homefurnishings.Itisperhapstooeasyto walkbysomethingthatshouldreallybe lookedatlonger.Twosmallfigurative piecesbyRobertBellucci,“VillageWise Man”and“BirdofPrey,”forinstance,are tuckedintoacornerbythedoorway. Thesetwoheads,ofamanandatropical bird,arcshapedinthreedimensionswith coloredglassandsuspendedinacubeof clearglass,likeaflyinice.

Thoughtherearemanystartlingpieces inthegallery,thesetwowillmakeyou suckinyourbreath.Theyembodythe magicofglassthatcanbefound,ifone lookshardenough,inthebusycorners andamongthecrowdedshelvesatthe Stein Gallen-. ■

Our New Robin Cook

CamdennovelistDr.TerryGerritsen’s medicalthrillers-and$1millioncontractwith PocketBooks(aswellashalfamillionwith ParamountPictures)-arevaultinghertothetopof thepublishingheap.

StoryByJackBarnes

Aboutayearago,romancewriter Terr}'“Tess”Gerritsenreceived electrifyingnewsfromherNew Yorkagent.PocketBookswas offeringhera$1millioncontract towritetwomedicalthrillersbasedsolely upona160-pageproposalthatshehad written.

Then,evenbeforetheuneditedcopyof thefirstofthetwothrillers. Harvest, was availableforreviewers,shesignedahalf

milliondollarcontractwithParamount Picturesforthemovierights. Fromavastseaofnovelistsstrugglingto devotefull-timetotheircraft,Gerritsen suddenlyiscatapidtedupthereamong thenation’smostsuccessfulwritersonthe orderofRobinCook,America’smost prominentwriterofmedicalthrillers.And otherthanStephenKing,shemaybethe onlycontemporarywriterinMaineto jointhiselitecompany.

Nearlyasgratifyingassuddenlybecom¬ ingamillionairethroughherwriting endeavorsisthatshehasattainedthissuc¬ cessdespitethecritics,who,withthe exceptionof RomanticTimes andoneor twolocaljournalists,chosetoignoreher workcompletely.Assheoncecomment¬ ed,“Ourgenresooftengetsrelegatedto 'barefootandpregnant’oblivion.Itcer¬ tainlyhasbeenalong,uphillbattlefor me.”

Butifhercurrentremarkablebreak¬ throughintothemainstreamoffictionis alreadyearningherkudosfromthena¬ tionalmedia,anequallysalientstoryre¬ mainstobetoldabouthowthispluck} 1 , petitewomanbecamearomancewriter inthefirstplace.In1980,Gerritsenwasa residentphysicianinaIlonoluhihospital whereshespecializedininternalmedi¬ cine.Oneofherpatientswasaninveter¬ atereaderofromancenovels.“Whenshe finallycheckedoutofthehospital,”Ger¬ ritsensays,“shegavemethisbigshopping bagofHarlequinromances.Itookthem homeandreadthem,andthat’swhenI gothooked.Ithought,‘Okay,I’mgoingto writesomeofthese.’”

Shesoondiscoveredthatwritingrom¬ ancenovelswasmorechallengingthan shehadfirstanticipated.Nevertheless,she madehersuccessfuldebutin1987when Harlequinpublishedherrivetingthriller, CallAfterMidnight, setprimarilyinAms¬ terdaminTheNetherlands,whereher physicianhusbandwasborn.Harlequin, infact,wassoimpressedwithherinitial workthattheyofferedheracontractfor threemoreromances.

Shortlyaftersheandherhusband movedfromHawaiitotheirpresenthome in Camden, she made the momentous decisiontogiveuphermedicalcareer anddevotenearlyallofhersparetime frombeingawifeandamothertotwo smallsonstowritingromances.

Eachofherensuingaction-packed, throat-grippingthrillerswasgreatlyen¬ hancedbyhermedicalknowledgeand worldtravels,thusrenderingherworksev¬ erallevelsabovetherun-of-the-millro¬ mances.Forinstance,inacompelling romancetitledNever SayDie, published byHarlequinin1992,Gerritsendrew uponherpersonalencounterswhilea medicalobserverinVietnamin1987to weaveawebofintrigueandsuspense around a young American woman who goestoVietnaminsearchofherMIA father.

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56NorthportAvenue•P.O.Box287•Belfast,ME04915 (207)338-2332

Gerritsen’stalentforwritingthrillers wasnotconfinedtoromancenovels.In 1993shewrotethescriptfor“Adrift,”a CBSMovieoftheWeek.Now,thescript for Harvest (inwhichabrilliantyoung internnamedAbbyDiMatteoputsher medicalcareerandherlifeonthelineto exposeabigcityhospitalanditscardiac transplantteam’sinvolvementinharvest¬ ingorgans,primarilyfromyoung,unsus¬ pectingRussianorphans)isbeingwritten. Althoughhercurrentwork—unfet¬ teredbyprescribedformulas—maypre¬ cludeherbychoicefromeverreturning totheromancegenre,Harlequiniscapi¬ talizingonGerritsen’sbillingasthe “femalecounterparttoRobinCook”by releasing NeverSayDie in1996and Pre¬ sumedGuilty in1997asmainstreamnov¬ els.ItseemslikelythatHarlequinwill eventuallydothesamewithherother eightromanceswhichitpublished. Butevenifsheneverwritesanother romance,itsce’msunlikelyinthenear futurethatGerritsenwillceasetofind timetoaidandencourageotherromance writersandtogivesupporttothisgenre thatprovedtobeapivotalpointinherlife. Afterall,itwaslargelythroughheruntir¬ ingeffortsthatanofficialMaineChapter of Romance Writers of America was launchedin1995inwhichNedAcker¬ manofCamdenbecameitsfirstpresi¬ dent.

GerritsenwasborninSanDiego,Cali¬ fornia,in1953ofChineseparentage. Sinceherparentsspoketotallydifferent dialectsofChinese,Englishwastheirlin¬ guafranca;andbecauseofthis,Gerritsen never learned to speak any Chinese dialect.Hermother’srootsarcinKun¬ ming(acity'northofVietnam)andher father’sinGuangzhou(Canton).She graduatedfromStanfordUniversityin 1975andthenenteredmedicalschoolat theUniversityofCaliforniainSanFrancisco.ShebecameanM.D.in1979.

In1977,whileinhersecondyearof medicalschool,shemetJacobGerritsen, amedicalstudentatCreightonUniversi¬ tyinOmaha.Theyweremarriedthat sameyear,andassoonastheyfinished medicalschool,theymovedtoHawaii whereherhusband’sparentswereliving.

For11yearsthecouplelivedandprac¬ ticedmedicineinHonolulu.“ThenI burnedoutonbeingonanisland,andwe cametoMaine,”shesays.

ButwhyMaine?“Itisallbasedonan articlewrittenbyBillLcvanworthin

CruisingWorld, sheexplains.“Hewrote anarticleaboutCamden;andmyhus¬ band,whoisanavidsailor,happenedto pickupthatmagazine,readaboutCam¬ denandsaid,‘Oh,we’regoingonvaca¬ tionontheEastCoast.Let’sdriveupthe coastofMaineandsecwhatit’slike.’”

OneglanceatCamden’sscenicharbor andtheGerritsensknewthattheyhad foundtheirnewhome.

Shortlyafter NeverSayDie waspub¬ lished,Gerritsenwasaskedabout themedicalpracticeshehadgiven upforwriting.“WhatImissabout notpracticingmedicine,”shere¬ sponded,“issittingaroundandtalkingto For11yearsikecoupleIked antipraclkeJmedicine inHonolulu.IlkenIturned oulonFeingonanisland, andwecame loMaine,sluesays. patients.Ireallyenjoymeetingpeople. What1donotmissis,andIthinkalotof doctorshavethesameproblem,isalways thesenseofsomeonelookingoveryour shoulderandwonderingifamistakeyou maketodayisgoingtocostyouyour careertomorrow.Medicinehaschanged. Ithasbecomemuchmoreadversarial, d’hat’stoobad.1thinkit’smuchbetter hereinMaine.”

AlthoughGerritsenverylikelydidnot dreamofbreakingthesoundbarrierwith herpen,sheneverreallyhadsecond thoughtsaboutwhattomostmightappear tobeanunusualandperhapsevenanin¬ sanedecision.

“1firmlybelievedthatif1didwhatI wantedtodo,”shesays,“somethinggood wouldcomeofit.”

Andnowthatherearnings,forthe momentatleast,farexceedwhatsheand herhusbandtogethercouldeverdreamof earninginamuchlongerperiodoftime, howhaslifechangedfortheGerritsens? “fheonlythingthathaschangedisthat wedon’tworryaboutthekidsincollege anymore.Westillliveinthesametown andthesamehouse.Jacob(aspecialistin geriatrics)willgoonpracticingmedi¬ cine."

Meanwhile,Gerritsen,whowritesabout fourpagesaday,isoverhalfwaythrough hersecondnovelforPocketBooksand justifiablyisconfidentaboutherliterary future.

FraternalOrderofEagles

SouthPortlandAerieNo.3875

729Broadway,SouthPortland,Maine04106(207)767-1293

ELEGANCE THAT’S AFFORDABLE

ForatrulyMemorableAffair,theNewSouthPortlandEaglesbeautifulbanquetfacilitywasdesignedforallspecial occasionsandevents.

Wehaveseatingforupto300peoplewithdancing,andover400peoplewithout.

Wehatecompletedinners,buffetsandbeverageservicestoaccommodateweddingreceptions,banquets, conferences,seminars,partiesandshowersofalltypes.

We'llhelpyouwithallyoureventplanningandwe’llensurethatyourscheduleisadheredtoonthedayofyour affair. Specialoccasionsareourbusiness—OurOnlyBusiness—andyoureventisveryimportanttous.

The Audubon Room at the Inn by the Sea on Route 77 in Cape Elizabeth combines breathtaking views of the Atlantic Ocean with culinary masterpieces that feature fresh local produce, native seafood specialties, and exceptional homemade breads and desserts prepared on the premises. Some house favorites include Grilled Salmon with an Orange Basil Vinaigrette, Sauteed Oysters with Porcini and Champagne, and Lemon Custard Tart with Maine Blueberries. Patio dining and carry-out available. 767-0888.

Known for its fine service and ambience, Baker's Table at 434 Fore Street and 41 Wharf Street is an intimate bistro complete with an outdoor deck and an open kitchen that has been serving up lobsters, shellfish, and fresh fish for over 25 years. Prime beef and filet mignon are cooked to perfection, and you can also sample fresh pastas, special vegetarian dishes, Tex-Mex, and ethnic dishes. There's a full bar and wines, and a bakery with daily breads and desserts, as well as great soups, salads, and sandwiches served from 10 a.m. to 10 p.m. Call 775-0303. Fax orders: 761-4444. For parties call 773-3333.

Bangkok City Thai and Seafood 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 reducedprice menu. Specializing in seafood dishes and other authentic Thai recipes prepared by an experienced chef. Bangkok City is open for dinner seven days a week with a lunch buffet Monday-Friday. Catering, take-out. delivery ($20 minimum order), and free onehour parking at One City Center Parking Garage are available. For reservations call 772-1118.

Cafe Stroudwater, located in the Embassy Suites Hotel at the Portland Jetport, specializes in American bistro cuisine with an emphasis on native seafood and prime cuts ot meat, but it is Chef William Boutwell's creative touches—like shrimp and lobster Napoleon with grilled eggplant, goat cheese, and red peppers served over a tomato coulis—that make this dining experience like no other in Portland. In addition to a spectacular Sunday brunch, the Cafe also offers wine dinners. Portland's only Chef's Table, and a fine selection of locally brewed beers. For reservations call 775-0032.

Carbur's Restaurant,123 Middle Street, Portland, offers great food in a casual and relaxed atmosphere. Take some time to enjoy your favorite cocktail or soft drink as you read over the extensive menu with selections ranging from Teriyaki Sirloin or Chicken to Fish'n’Chips, not to mention the munchies and salads. And if it’s a sandwich you seek, you've found the right place: over 70 outrageous "Grandwich" combinations are available. 772-7794.

The Clay Oven, 565 Congress Street, serves authentic Indian cuisine in a relaxed atmosphere. The moist kebabs are cooked on a slow charcoal fire, while the curries are prepared with freshly ground herbs and spices. Their exotic soups, fresh-baked breads, and savory rice specialties are also sure to please your palate. The Clay Oven is open for lunch and dinner, and beer. wine, and take-out are available. 773-1444. At David's Restaurant you can sample tour-star

entries featuring farm-fresh produce and native products like seafood sausage, sesame and coriander crusted tuna, or goat cheese packets with grilled vegetables (773-4340). David’s at the Oyster Club, set in a converted open air market building, boasts an abundant raw bar, 20 varieties of seafood, lobster, fresh pasta, microbrews, and Maine's largest single malt scotches list (773-4340). Turino’s Stone Oven Pizzeria combines wild mushrooms, prosciutto, artichoke hearts, and fresh herbs to create authentic gourmet pizza from old Naples (780-6600). All three restaurants are located at 164 Middle Street.

You can't beat the location of DiMillo's Floating Restaurant at 25 Long Wharf off Commercial Street for fabulous waterfront views of Portland Harbor. Escape from the hustle and bustle of the city by watching the boats go by as you enjoy fresh Maine lobster served year-round, steak, seafood dishes, and more. Open 7 days a week from 11 a.m. to 11 p.m., with a children’s menu available. For drinks and a lighter menu, try their Portside Lounge. 772-2216.

Welcome to F. Parker Reidy's, site of the original Portland Savings Bank built in 1866 at 83 Exchange Street. Established in 1976 during the Renaissance of the Old Port area, F. Parker Reidy's has become a Portland fine dining tradition, specializing in steaks and fresh seafood, but also offering pasta, chicken, and salads, with prime rib featured on weekends. Turn-ofthe-century decor, personalized service, and great food create a warm and congenial 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 variety of fantastic Italian breads, Italian wine and beers, espresso, cappuccino, biscotti, and other delicious desserts. Bring the whole family for lunch, dinner, and late night dining. 773-7146.

Deep in the heart of the mysterious Woodfords area at 540 Forest Avenue is The Great Lost Bear, where you’llfindafullbarfeaturingover50(that’sright,five-o) draught beers, predominantly from local microbreweries. Accompanying them is an enormous menu with everything from soups, salads, and sandwiches to steaks and ribs, as well as a large vegetarian selection and the best nachos and buffalo wings in town. Discover where the natives go when they’re restlessl Serving from 11:3O a.m. to 11:30 p.m. seven days a week. 772-0300. Visit us online at: http7Avww.mainelink.net/bear/

At the Market Street Grille in the Portland Regency Hotel, spectacular cuisine. Old Port charm, and impeccable service come together in an elegant yet casual environment. Along with daily fresh specials featuring foods from land and sea, the Grille’s chef prepares unforgettable feasts like Seafood Fettucine with lobster, shrimp, and mussels: Baked Lobster with seafood stuffing; Steak Diane Tenderloin; and Veal Scaloppini. Visit 31 Market Street for breakfast, lunch and dinner. Reservations accepted. 774-4200.

Voted

is truly a taste of the Old Country. M.E. Curly of the PPH raves: “Ricetta’s is arguably the best pizza west of Rome.” Dine-in, take-out, delivery, and catering are available, and the all-you-can-eat gourmet lunch buffet includes pizzas, pastas, soups, and salads. With their newly expanded dining room you won't have to wait a lifetime for the best meal in town. Located at 29 Western Avenue, South Portland. Kids eat FREE on Mondays from 3 p.m. till close. 775-7400.

Saigon Thinh Thanh, 608 Congress StreeL Portland. Just across Congress Square from the Sonesta Hotei and the Portland Museum of Art is Maine's—and probably New England's—finest Vietnamese restaurant. Four-star, spicy, exotictastesjumpfromthedeliciousfish,pork,shrimp,and scallopdishesthatincludeVegetableSateRiceVermicelli, Bean Curd with Garlic Rice Vermicelli, Scallops with Snow Peas,andextraordinarycurriesandspecials.773-2932.

Fresh lobsters, shellfish, salmon, and local fish have been specialties at the historic Seamen's Club for over three generations, while aged beef, prime rib, quiches, fresh pasta, vegetarian and southwestern selections, home-baked breads and desserts, and fresh fruits and vegetables round out the menu. The best weekend brunches on the planet include soups, turkey sandwiches, and salads, and a full bar is always available. The Lunch and “Lite" menus are served from 11 a.m. to 11 p.m. in a comfortable setting overlooking the harbor at 1 Exchange Street and 375 Fore Street in the hub of the Old Port. Call 772-7311. Fax orders: 761-4444. No room charges ever for banquets and meetings: 773-3333.

Celebrate food at Squire Morgan’s, where you'll find home cooking in a relaxed atmosphere. Lunch specials start at $4.95 and include a wide variety of soups, salads, chowders, sandwiches, burgers, and fresh¬ dough pizza. Dinner specials feature fresh grilled seafood in many different ethnic styles, as well as vegetarian and pasta dishes. Selections from their unique wine list are available by the glass or the bottle. Stop by 46 Market Street in front of the Portland Regency for great food and drink in the heart of the Old Port. 774-5246.

Tabitha Jean's Restaurant at 94 Free Street offers you zesty American regional cuisine in a casual setting that is handicapped accessible and convenient to the State Theatre, the Civic Center, and the downtown arts district. Their fresh seafood, pasta, vegetarian dishes, grilled bntrees, homemade desserts, and extensive wine selection received an enthusiastic four-and-a-hatfstar rating from Maine Sunday Telegram. Validated parking is available. 780-8966.

Tortilla Flat has been serving New Englanders fine Mexican food and drink for over 24 years. At 1871 Forest Avenue in Portland you can find favorites like nachos, fajitas, chimichangas, tamales, burritos, tacos, enchiladas, and frozen margaritas seven days a week, as well as seafood, steak, pork, and chicken cooked with a Mexican flair. With lunch specials starting at $3.95, a children’s menu, nightly specials, a Chili Happy Hour, a screened-in deck, and take-out, Tortilla Flat is a memorable Mexican experience you can afford any time. 797-8729.

"Best Pizza in Maine” for five consecutive years by the PPH and CBW. Ricetta’s Brick Oven Pizzeria

OUSEEthetreesofDeering OaksPark,thecastlebeside the pond, the diaphanous spumeoffountainthatlights upatnight...butisthisany placetoputatrendynewrestaurant? Yes.Locatedinsideandoutsidethe oldcastlebuilding(designed,likethe restofthepark,byFrederickLaw Olmsted,creatorofCentralPark),The BarkingSquirrelfeaturesanewindoor diningwingremodeledwithafire¬ placeandair-conditioningandseven outdoortablesandumbrellasfor al fresco munching.OwnerDavidKings¬ ley’sconceptofawhimsical,informal answertoTheWhistlingOysterof Ogunquitdelightswithtreatssuchas Oaxacan Grilled Corn with Ancho Mayonaisse;MediterraneanRoll-ups; hugeHomemadeBurritosservedwith “yellowjasminerice,spicyblack beans,orange-anchomojitosauce,and pepperjackcheeseinacilantro-chi¬ potletortilla”;andBombayBurritos spicedwith“indigolentils,curried potatoes,andahotlimepickleina wholewheattortilla.”Tlaeon-sitebar¬ becuealsoservesuptang}'sandwiches, andthere’sanewlobsterpit(lined withcobblestonespertheHistoric PreservationCommittee)thatwasre¬ cent!}'thesiteof,amongotherchar¬ teredclambakes,theannualUnum familypicnic.

Hereatthecastle,allofPortland seemstofallintoperspectiveasyousee peopleonblanketsreading,paddle¬ boatsandpondyachtsglidingacross thewater,eventhegiantgranitegates totheparkthatwereoncethegatesto theDeeringMansionthatusedtosit highatopthehilltothewestwherethe UniversityofSouthernMainenowis. Or,ifyoupreferexperiencebyproxy, youcanviewthecastleandparkinthe upcomingfeaturefilm ThePreacher’s Wife, starringDenzelWashingtonand WhitneyHouston.Butyou’llbemiss¬ ingsomegreatfood.774-5514.H

telephoneanswering servicebureau

Giveusacalltoday! 774-9681

Roundlbp Center^Arts

Damariscotta,Maine

UPCOMING EVENTS & ART SHOWS

FiveArtists,Five PointsofView LoisDodd,Nancy Wissemann-Widrig, ElizabethKnox,Cicely Aikman and KathleenGalligan. Reception:Fri,Aug2, 5-7 pm ThruSept2

SculptureOutdoors AGroupShow. Reception:Fri,Aug2, 5-7 pm ThruSept2

CathyKreger Singer,songwriter& guitaristinconcert Sat,Aug10,7:30pm

Complements

Quiltsby NancyHalpernand RhodaCohen Reception:Sun,Aug11, 5-7 pm ThruSept9

StephanTranNgoc Internationally renownedviolinist. CherylTschanz,piano Wed,Aug14,7:30pm

MoreThiesfromthe Vienna Woods ThePocketOpera Players;JohnReinhardt, MaryAnneEvangelista &LauraSteele Fri-Sat,Aug16-17,8pm

TheSaltBay Chamberfest Tenoutstanding youngmusicians; WilhelminaSmith, musicdirector. Fri,Sat&Sun, Aug23,24&25 Fri,Sat&Sun, Aug30,31&Sept1, 7:30pm(Sun,3pm)

UpRiver:theStoiyof aMaineFishing Community Photographsby OlivePierce Reception:Fri,Sept6, 5-7 pm ThruOct.7

Callforcomplete schedules&information BUSINESS ROUTE 1 DAMARISCOTTA 563-1507

GALLERY HOURS Mon-Fri, 11-4; Sat, noon-4;Sun,1-4.Galleryexhibitionsand receptionsareopentothepublicatnocharge. Callfordetailsonconcert&theatretickets.

ILealer

Mad Horse Theatre, 955F Forest Avenue, Portland. Opening October 2, Stephen Sondheim’s musical A Funny T/iing IlappenedontheWaytotheForum offers “Something for cvcr}X)ne, a comedy tonight!” (through November 3 at 8 p.m. Wednesday-Saturday and at 7 p.m. on Sundays). 'Tickets arc $18 for adults and $16 for students and seniors, and Saturday tickets are S20/S18. All tickets for the previews October 2-3 are $10; the Gala Opening and Press Night on Friday, Octoljcr4costs$30,includingacateredreceptionwith beverages; and “Pay Wliat You Can Night" is Sunday, Octolxrr6.BoxOffice:797-3338.

Oak Street Theatre, 92 Oak Street, Portland. Vintage Repertory Company opens their season with the American premiere of Clara Armand’s adaptation of Nicolai Gogol’s comic play Marriage— a break-neck blend of English slapstick and comrnedia dell'arte farcicalroutinesthatwashighlysuccessfulandcritically acclaimed in Britain (through September 22 at 8 p.m. 'Hiursday-Saturday and at 5 p.m. on Sunday). 'Tickets cost $12, uith two-for-one night every 'Thursday. Box Office: 775-5103.

Portland Players, 420 Cottage Road, South Portland. In Rrxlgcrs and Hammerstein’s KingandI, East meets West when an English widow arrives in Bangkok to tutor the King’s many children and wives (through Octolx-r 19 at 8 p.m. Friday-Saturday and at 2:30 p.m. on Sunday.) Opening night tickets cost $10; all other shows arc $13. Call 799-7337.

Musit’

Portland Concert /Association, P.O. Box 1137, 100 Fore Street, Portland, brings you the Portland String Quartet and the Borealis Wind Quintet at 3 p.m. on Sunday, October 6 at the State Street Church in a celebrationofSchulrert’sbicentennialthatwillinclude Mozart’s Quartet in F for olxw and strings K. 370/368b, MooringForks byEwazcn,andSchulx.'rt’sOctetinFfor windsandstringsD.803.'•Ticketscost$22foradultsand $10 for south 14 and under. Box Office: 772-8630 or 1800-639-2707.

Portland Performing Arts, 25A Forest Avenue, Portland. On Friday, September 27 at 8 p.m. in Portland High School 'Theater, “('all & Response” features dance and music of the African diaspora by Dougouto Nganya (West African talking drum ensemble), Oi|x>clm Camara (Brazilian dance/martial arts troupe), Cabildo (AfroCulxm Santerfa t(X|ues), the Silver lx?af Gosjx’l Singers, and jazz tap legend Jimmy Slvdc (tickets $16). 'Then on Friday, October 4 and Saturday, October 5 at 8 p.m. in the Portland PerformingArts('enter, RemovedfromthePalace isthe world premiere of a cross-cultural dance work by English dancer/choreographer Jonathan Lunn, Khmer master musician Sam-Aug Sam, classical Camlxxlian dancer Chan Moly Sam, and memlxrs of the zApsara Ensemble (tickets $15). Box Office: 761-1545.

State Theatre, 609 Qmgress Street, Portland. World¬ class mandoliuist David (irisman and his acoustic Quintet take the stage at 8 p.m. on T hursday, Scptemlwr 26 (tickets $ 1650-S33). Call 879-1112 for tickets,anddon’tmiss PortlandMonthly photographer Kevin IxjDuc’s exhibit of backstage and performance photos of acts from Bo Diddley to Bob IXlan who have appeared at the Stale since early 1994 (on view Monday-Friday 9:50-5:00and 10-4 on Saturdays).

Jonathan’s Upstairs, 2 Bourne Lane, Ogunquit. Jonathan’s star-studded season continues with shows by Trout Fishing in America at 7 p.m. on Friday, September 13; Torn Rush at 9 p.m. on Saturday,

September 28; and Jonathan Edwards at 9 p.m. on Saturday,October5.Call646-4777fortickets.

Museums

Portland Museum of Art, 7 Congress Square, Portland. “Artful Guides: Fifty Years ofTeaching at the Skowhegan School of Painting and Sculpture” features w'orks by David Driskell, Richard Estes, Yvonne Jacquette, 1-ouise Nevelson, Henn’ Vamum Poor, Jack Tworkov, and other artists who have taught at the school (through September 15). “'Hie Opera of Man: Works by John I lultbcrg” includes a wide range of the artist’sfigureandperspective-orientedpaintings,prints, drawings,collages,andsculpturesfromthelate1950sto theearly1980sinhischaracteristicSurrealist-Abstract Expressionist style (through September 21). “Picasso, Braque, Ldgcr, and the Cubist Spirit: 1919-1939" explores the influence of Cubism on French painting, sculpture,furnituredesign,householdobjects,fashion, architecture, and cinema between the World Wars with more than 100 works by these three 20th-century masters, as well as pieces by Pierre Charcau, Stuart Davis, Robert and Sonia Delaunay, Jean Dunand, AlbertGlciz.es,JulioGonzalez,EileenGray,JuanCris, IlenriLaurens,JacquesLipchitz,I£Corbusier,Robert Mallct-Stcvens, John Storrs, Am6d6c Ozcnfant, and Jacques Villon (through October 20). Opening September 14, “Collage: European and American Works” explores the medium in question through twenty-five works from the museum’s collections (through December 15). Opening September 28, “Friends of the Collection 1985-1995" honors this group of supporters by focusing on Fricnds-assisted and Tnends-conscrvcdacquisitionsbyartistssuchasGeorge Bellows, Harrison Bird Brown, Marsden I lartley, Robert Henri, William Morris Hunt, Rockwell Kent, Charles Frederick Kimball, Fitz I high Line, Andy Warhol, and Marguerite Zorach (through December 9). T hrough October 9 the museum is open 10 a.m. to 5 p.m. Monday-Wednesday and Saturday; 10 a.m. to 9 p.m. on ’Thursday and Friday; and noon to 5 p.m. on Sunday. Admissionis$6foradults,$5forseniorsandstudents, $1 for children 6-12, and free for everyone 'Thursday and Friday from 5 p.m. to 9 p.m. and the first Saturday of the month from 10 a.m. to noon. Call 773-/\RT'S or (800)6394067.

Maine I listorical Society Gallen-,489CongressStreet, Portland. “From Souchong Teas to Canton Silks: Tlie Exotic China 'Trade in F.veryday Maine, 1700-1900" explores the strong trade tics between Maine communities and China through China trade goods suchasporcelains,furniture,ixorics,silks,andother decorative arts drawn from Maine collections (through October 31). In conjunction with the China trade exhibit, “Homes Away: Victorian Life on the High Seas” uses marine paintings, family portraits, diaries, shiplogs,hand-stitchedquilts,andcarvingscraftedat sea to shed light on the globe-trotting lives of Maine ship captains and their families at sea and in port (through October 31). 'The Gallery is open WednesdaySaturday from noon to 4 p.m.; admission is $2 for adults and $1 for children under 12. For further information, call879-0427.

Children’s Museum of Maine, 142 Free Street, Portland. Starting September 19, the fun is contagious at the “HA! HA! HA! laughter Around the World” exhibit, where you can learn once and for all just what the difference is between a snicker and a chortle; haxc jour oxxu guffaws measured by a laughometer; deposit and withdraw knock-knocks, riddles, and tongue-twisters at the joke bank; or try making an audience roll in the aisles bv getting behind the mike at the comedy circus (ongoing). Open Wednesdax-Saturday 10-5, Friday evenings 5-8 (free admission), and Sunday 12-5; admission is $4 per person. For recorded information

call828-1234.

Maine College of Art’s Baxter Gallery, 619 Congress Street, Portland. Opening September 12, “Endurance: 'The Information” (Part 11) is an international survey exhibition of 68 life-size, black-and-white photographs of 20th-century visual and performance artists testing the physical, mental, and spiritual endurance of the body (through October 6). Part II coxers the period 1975-1994; Part I (at the USM Art Caller}’ in Gorham, below) encompasses the years 1916-1974. Com¬ plementary videos arc shoxvn continuously at both locations during gallery hours. Free and open to the public 'Tuesday-Sunday 11-4 and 'Thursday 11-9. For more information, call 775-5152.

Thos. Moser Cabinetmakers, 415 Cumberland Avenue, Portland. Works from the print collection of Vinalhavcn Press are on display through October 5. 'Hie showroom is open Monday-Saturday, 9 a.rn.-5 p.m. For more information, call 774-3791.

Osher Map Library, Smith Center for Cartographic Education, 314 Forest Avenue, Portland. “Jerusalem 3000: 'Three Millennia of History" examines Jerusalem's unique position as the holv city of Judaism, Christianity, and Islam through imaginary, idealized portrayals based on Scriptural interpretation and through objective depictions derived from historical records anti eyewitness accounts (through October 5). Library hours arc 1-4:30 p.m. and 6-8 p.m. on Wednesday, and 9 a.m. to 12:30 p.m. on Thursday and Saturday;admissionisfree.Call780-4850.

Spring Point Museum, Southern Maine Technical College, Fort Road, South Portland. “Portland Harbor 1865-1900: Making a Living in Stormy 'Times” explores how changing technology in the shipping and fish processing industries caused Portland's commercial focus to shift from trade and fishing to canning and tourism (through early November). T he museum is open 10 a.m.4 p.m. Wednesday-Sunday; admission is $2foradultsandfreeforchildren.Call799-6337.

University of Southern Maine Art Gallery, 37 College Avenue, Gorham. Opening September 12, “Endur¬ ance: The Information” (Part I) is an international survey exhibition of 68 life-size, black-and-white photographs of 20th-century visual and performance artists testing the physical, mental, and spiritual endurance of the body (through October 6). Part I encompasses the years 1916-1974; Part II (at the Baxter (Gallery in Portland, above) covers the period 19751994. Complementary videos arc shown continuously at both locations during gallery hours. Free and open to the public: Tucsdav-Saturdav 11-3 or bv appointment. Call 780-5409.

Jones Museum of Glass and Ceramics, ITouglas Hill, Scbago, houses an international collection of glass, pottery, .stoneware, and porcelain from 1200 BC. to the present that includes Sandxxich glass, Chinese Export, Baccarat paperweights, Majolica, American Art ('.lass, Worcester Porcelain, and more. T his season’s special exhibits arc “Steins and Related Drinking Vessels”; “'Hie T urner’s Art: Mocha and Slip-Decorated Ware"; “Selections from the Moon Arrow Collection”; “From T heir Images Shall Yc Knoxv T hem”; and “Gift Highlights from 1995.” Museum hours are MondaySaturday 10-5 and Sunday 1-5 (through Noxember 19). Admission is S5 for adults, S3 for students, $3.75 for seniors and AAA members, and free for children, ('all 787-3370.

Bow doin College Museum of Art, Brunswick. Opening September 10, the “Alison Saar” exhibit features prints depicting archetypal images of men that were influenced by folk art, mythology, African and

■ LISTINGS ■

Haitian folklore, and contemporary African-American culture (through October 13). Opening October 4, “'lire Studio Museum in Harlem: 25 Years of AfricanAmerican Art" includes works created by renowned artists such as Homare Bearden, Ed Clark, Herbert Gentry, Sam Gilliam, Norman Ixwis, Howardena Pindell, Bctye Saar, and William T. Williams between 1968 and 1993 (through December 1). 'Ilie galleries arc open 10 a.m.-5 p.m. Tuesday-Satmday and 2-5 p.m. on Sunday (free admission). Call 725-3275.

Peary-MacMillan Arctic Museum, Hubbard Hall, Bowdoin College, Brunswick, displays the fur clothing,snow-shoes,pickaxes,knives,guns,andoneof thefixesledgesthatRobertE.Peary'tooktotheNorth Pole, as well as the Eskimo pots and lamps, ivory and soapstone carvings, hunting weapons, clothing, and full-size skin kayak that Donald B. MacMillan encountered on his Arctic explorations. Ongoing exhibitsinclude: “S.S.RtxKevelt: Model of Strength," an admiralty model of Robert E. Peary’s Maine-built shipofexploration;“InuitArtTodayandYesterday”;a caribou display; and a computer-driven photography display of hand-colored glass lantern slides of Arctic explorationsfrom1880to1930.'Hiegalleriesareopen 10 a.m.-5 p.m. Tuesday-Saturday and 2-5 p.m. on Sunday(freeadmission),('all725-3062.

Connections: Objects & Images, 56 Maine Street, Brunswick. 'Hirough October 12, recent abstract oil and acrylic paintings by John Gallagher will be on display, along with Dean Richardson’s oil paintings of nature scenes from a bygone era. ('allcry hours: Monday-Saturday, 10 a.m.-5 p.m. ('all 725-1399 for details.

Maine Maritime Museum, 243 Washington Street, Bath.Currentexhibitsinclude"Qjrsdir,”thestory'ofJ. P. Morgan’s Bath-built steam yacht (through October 20), and “Eriendship in Japan: a Shipmaster’s Travels in 19th-Century Japan" (through November 3). Outside in the shipyard arc ongoing demonstrations of blacksmithing,launchingavessel,navigation,etc.,as well as tours of the Grand Banks fishing schooner Sherman'/.wickerl (through October 15). Museum hours arc 9:30-5:00 even day; admission is $7.50 for adults,S4.75forchildren6-17,and$21forafamilyof atleast2adultsand2children.Fordetailscall4431316.

Bates College Museum of Art, Bardwell and Russell Streets, Lewiston. The “Faculty Exhibition Celebrating 10 Years in Olin Arts Center” features paintings, ceramics, and photography by Paul I leroux, Donald I-ent, Joe Nicoletti, Elke Morris, and Robert Ecmtuch (through Octolxr 25). “Modern Artists and Book Illustration” includes works by Picasso, George Rouaulp, Gauguin, and others that were commissioned bv the French publisher Vollard to illustrate contemporary limited editions of books by writers such as Balzac, (ximpte de Buffon, and Suards (through October 25). Museum hours: TuesdaySaturday 10-5 and Sunday 1-5; free admission. Call 786-6158.

The Gallery on Chase Hill, P. (). Box 2786, 10 ChaseIfillRoad,Kennebunkport,isfeaturingfavorite watercolors bv Caroline Doucette, Dmrie WymanHeron, Beverly Jockers, Walter Gaffney Kessel, Jan Kilburn, Eran Mallon, Karen McManus, and laurie W. Simons through September 30.'Hie gallery is open 7daysaweekfrom10a.m.to8p.m.('all9674)049for details.

Ogunquit Museum of American .Art, P.O. Box 815, Shore Road, Ogunquit. “Creative Lives” is a retrospective exhibit of the long and distinguished careers of Maine artists Edward Betts, Dahlov Ipear,

AnnouncestheArrivalof

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ThiswonderfulLineofSanta’sAngelsand Fishermenwillsurelymakeyousmile!

MeetDavidFrykmaninperson October 11th, 5pm-9pm

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FEATURING WORKS BY A VARIETY OF ARTISTS FROM MAINE, NEW ENGLAND AND AROUND THE COUNTRY. A GROUP GALLERY FOR ORIGINAL ARTWORK, IN THE BEAUTIFULLY RESTORED CAPTAIN CHASE HOUSE, KENNEBUNKPORT, MAINE.

■ LISTINGS ■

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Cabot Lyford, and William 'Ilion (through September SO). “Reality and Dream: 'Hie Art of George 'Looker” isthefirstMainesoloexhibitionoftheartist’ssurreal, romantic, and allegorical works in Renaissance eggyolk tempera on pressed-wood board (through September 30). The museum is open MondaySaturday 10:30-5.00 and Sundays from 2 to 5 p.m.; admissionis$3foradults,$2forstudentsandseniors, and free for children under 12. Call 646-4909.

Bam Gallerj’, P.O. Box 2029, corner of Bourne l^ne and Shore Road, Ogunquit. “Jon Brooks: Dog, Didder, and Other Mystical Objects of Art” features contemplative and whimsical imagery on painted and otherwise adorned wood (through September 25). “Artists’Ikxiks:Text,Image,honn”takesviewersfrom traditionalletter-pressapplicationpasttheboundaries of what a book and its illustrations can be (through September 25). T he gallery is open 10 a.m.-5 p.m. Monday-Saturdav and 2-5 p.m. on Sunday; admission isfree.Call646-5370.

Ogunquit Art /Xssociation, P.O. Box 529, Shore Road & Bourne kmc, Ogunquit. The “100 Works at S100" exhibition includes pieces for sale by all 65 member artists,makingitanidealopportunitytobeginyourart collection with a small, original work —but come early, because purchases can be made before the exhibit closes (through September 29)1 /Mso on display through September 29 arc paintings and threedimensional constructions by Gregor)’ M. Kelleher, and paintings by Priscilla Patrone. Irani more about “How to Collect Art” at 7:30 p.m. on T hursday, September 19, when an artist, a dealer, a curator, and acollectorwillpresenttheirviewsonthesubjectina panel discussion (admission S2). T he gallery is open 11 a.m.-5 p.m. Monday-Saturday and 1-5 p.m. on Sundays. Call 646-8400.

Gleason Fine Art, 15 Oak Street, Boothbay Harbor. “Animal Kingdom” features 15 watercolor/Chincse ink paintings of fauna by animal-lover James Fitzgerald; while “Elegant Kingdom” highlights works by Fairfield Porter (both through September 11). Gallen- hours are 10 a.m. to 5 p.m. Tuesday-Saturday and noon to 4 p.m. on Sunday. Call 633-6849.

Gold/Smith Gallery, 63 Commercial Street, Boothbay Harbor. “z\n African Impression” features colorful, figurative acrylic and mixed media works on paper by John Vander that were inspired by his recent trip to Mali (through October 1). Gallery hours are 10 a.m. to 6 p.m. Mondays and Wednesday-Saturday, and noon to 5 p.m. on Sunday. For information, call 633-6252.

SAIGON THINH THANH VIETNAMESE RESTAURANT

Congress Square (NearthePortland MuseumofArtandthe SoneswHotei) 773-2932

Open 7 <i week

Monday to Wednesday Lunch 11: >0 am-2:5? pm

Dinner 4.10 pm-9:CV pm

ThursJav to Saturday Lunch 11:10 anv230 pm

Dinner 430 pm-10:00 pm Sunday 430 pm-9:CV pm MCAT8A AMEX Gladly accepted 60SCongressStreet,Portland,Maine

Farnsworth Art Museum, 19 Elm Street, Rockland. “From Edible Text to letterpress. Fine Binding to Ice: 'Hie Artist’s Books” features whimsical, unusual, and innovative hand-made books by Angela Inrenz, who divides her time between Maine and Italy (through September 15). “For We /Ml Arc Sprung from Earth and Water: Images bv Maggie Foskctt” is an exhibit of diche-vcne photographic prints produced without the use of a camera (through September 15). “/Vtists of the Skowhegan School” celebrates Skowhegan’s 50th anniversary with a selection of works from the collection bv .Alex Katz. Louise Nevclson, Neil Wclliver, Susan Shatter, Edwin Gamble, Abbott Pattison, Janice Kasper, and Robert Indiana (through November 3). Opening September 15, “White Mountain Painters” brings together fifty-two late 19th and earlv 20th century paintings of the W hite Mountains in New Hampshire (through November 3). 'Hie museum is open 10-5 Tuesday-Saturday and 1-5 on Sunday; admission is $5 for adults, $4 for seniors, and S3 for children ages S-IS. For further information,call596-6457.

-CompiledbyGwenThompson

Catching the summer breezes off the water at Merc Point is this three bedroom home that successfullycombinestheopenfeelingofa contemporary home with the warmth and charm of the traditional.It includesakitchen withbreakfast corner, dining room with Empire gas stove,livingroom withfireplace,a nicely landscaped .7acrelotand longsoutheasterly views. $315,000. Kjompellingoceanviews andahealthycashflowmake thisuniqueoceanfront,four familyhouseaperfect investment.4,twobedroom units,remodeledbaths, spaciousandopenfloorplans,new4zoneFHW/oilheat,newroof,3cargarage,decks foreveryunitwithunobstructedviews.Sandybeach. Offeredat$395,000 'Units

PinePoint,Maine

BeautifulRobertWalkerbuilthomelocatedinapremiere neighborhood.Welllandscapedlotattheendofacnldesacoffersprivacy with1.7acres. Krv versatilefloorplanwithafirstfloormasterbedroom suite,andelegantlivingroomanddenwithfireplaces.NewFHW/oil heatingsystem.Sprinklersystemunderground,invisibledogfence,security system.Classiclinesandqualitythroughout.Offeredat$287,500

MON HOUSE

CEAN AVENUE’S trendy new SummerPlaceisnestledupin thetreeswithviewsofMartin’s Point,theCascoBayIslands, andtheAtlanticbeyond.The developmentfeatureshomesthatimi¬ tatearchitect-designedcottagesofthe late19thcentury';here,individualunits sellwellintothe$200,000range.

Ironically,afewblocksdowntheroad, enjoyingthesameviewsfromthesame eminenceofland,istherealthing-a forgottenJohnCalvinStevenshomefor $119,900thatisexactlythekindof placethatSummerPlaceisimitating.

Troubleis,you’llhavetosquinttosee howgreatthehouseoncewas,because thisAnastasia’soriginalbeautyhasbeen obscuredbyabadcaseofvinylsiding.

Itachesforshutters,andthereare none,noteveninthebasement.Most oftheexteriortrimisjustplainmissing.

Butthelot-acomplicated,beautiful two-pieceparcel-givesthehouseamillion-dollarsetting.Nocostwassparedto situatethishouseperfectlyatthetopof

thisprivateledge.

Aperpetualbreezemakesyou,aspoet RobertSargentwouldcallit,“lordof theleaves”uphere,andacatalpatree threefeetindiameter,partofanorigi¬ nallandscapingplanthatincludes stoneworkandplantings,treatsyouto leavesasbigaselephantears.

Togettothehouse,headtowardFal¬ mouthfromPortlandonOceanAven¬ ue,crossoverWashingtonAvenue,and continueonforabouthalfamileuntil youseeanobscuredirtroadwithasign called’PrueStreet.Turnrightandbe¬ giny'our300-foot,garland-covereddrive upthehilltotheonly’houseonthe street.

Enteringthefrontdoor,youseean elegantstaircasewithalovescatatits base.Totheleftisastepupandastep downtothediningroom;theliving roomistoyourright,withtheverylarge baywindowsurroundedbyoriginal built-inbookcases.Acrosstheroomisa lovelyfireplaceandmantel.'Urisshow¬ stopperisclearlythebestroominthe

house.

Othertouches-built-insaroundthe kitchenandthequarterroundthatper¬ fectlytrimsthehardwoodfloorsagainst themoldings-assurcy'ouagainand againofthequality'ofcraftsmanship, butonamodestlevel.’Diediningroom hasnopaneling,whileathirdroomis toosmalltobealibrary'.

Still,thenewWcil-Mcl^ainfurnacein thebasementisencouraging,ample compensationfortheevidenceofwhat musthavebeenaflashfireintheattica fewyearsago.

Upstairsthereare3or4smallbed¬ roomsandafullbathwithclawfoottub. There’slittleluxuryhere,untilyou openaclosetwithRoyalCanadian Mountie,Moose,Canoe&Indianwall¬ paperthatwillcharmyouoffyourfeet. Ifyoutakeoffthesiding,cleanupthe originalclapboards(andpossiblyshin¬ glesonthegables),restoretheshutters, andreturntheflashandfiligreetothis house,yourfriendswillbeabletocall this a real find, too. ■

Ocean Avenue Area • John Calvin Stevens •$119,900

Claudia’s Island

NewFiction

ByBarbaraF.Lefcowitz

IIORTLYafterjumpingfromthe flame-sweptsecondfloorofBoston’s Cocoanut Grove Night Clubintothearmsofamale dancer,chorusgirlClaudiaReil¬ lyhunguphertightsandHawaiian skirt,closedoutheraccountatShaw¬ mutBank,andreturnedtohernative Maine.Thefire,whichultimately killedover400people,occurredon November29,1942;Claudia,whoat 19wasconsideredadancerofgreat promise (Today a Cocoanut Grove ChorusGirlsinging“SweetLeilani”; TomorrowaRadioCityRockctte!) movedonDecember9thintoasmall cottageonaplum-shapedCascoBay islandsoobscurenomaprecognizesit tothisday.

No,shewouldnotreturntothefam¬ ilyhomeupinpapermillcountrynear Millinocket,forsurelyherfather wouldwanttodisplayherasacelebri¬ ty,burns,scars,anythingatallhe deemedworthyofattention,muchlike PapaDionnehadexploitedhisquin¬ tupletsafewyearsback.Besides,her family’swoodstoveneededconstant stokingandeverytimesomeonepoked

smart power

KellyO’DonnelllearningballetfromRoxanneRigoloso,atthePortlandBallet

“Individualityofexpressionisthebeginning andendofallart.”

—SpruceinProsa(ProverbsinProse)

CentralMainePower thanksallthetalented peoplewhoenrichourlives throughmusic,art,dance andtheater.

Central Maine Power

FU BN ITU fACTDRYng

WarehouseSetting FactoryPrices

60 years of Family Service

250 Read St. Portland 878-5202

Mon-Fri9-6;Sat9-5;Sun12-4

[-caruRing: ImpcRcs pRom India also

CMepjttySelectedConsignmentClothing IntevacnngVintageJcurlsy Shoesand Atcworks t)omcft«nnhtngsofrheI9M0sand50s

Hours:Tues.•Fn.11-6,Sat.11-5 aMays acceptingqualityconsignments

itbacktolifegreatflamesandfumes wouldleapfromitsblackbelly.Never, ever,neveragaindidshewanttoseeor smellfire.Ifthatmeantfreezingdespite wearingallofhertwinsweater-setsatthe sametimeandmeanteatingcoldfood fortherestofherlife,sobeit.Hadn’t Jimmytoldheronceaboutthesevillages fromthevery'oldentimesthatdidnot knowhowtomakefire?Yetthepeople survived.

Jimmyhimself,asailorstationedatthe Charlestown Navy Yard who came to everyoneofClaudia’sperformances,did not,alas,himselfsurvive.Buthadn’the diedanheroicdeath,smashingopena windowandleadingadozenscreaming gueststhroughittoanadjoiningroof, onlytosuccumbtoaflameashere¬ turnedtorescueotherguestsandper¬ formers?Amoreheroicdeaththanifhe hadgonetowar,tofighttheJapsonone ofthosePacificislandswithafunny name.No,shewouldneverdateanoth¬ erman.Norevenspeaktoany,except maybetotellanoccasionallobsterman thankyou,butnothankyou:shecould notacceptanylobsterbecauseofthe fieryredofitscarapace,tosaynothingof eatingoneraw.Eventhesebriefconver¬ sationsceasedafterawhile;though sometimesshesangtoherself,asthe yearswentbyshemadefewerandfewer soundsofanysort.When,inordertobuy someprovisionsandoccasionallysome clothing,shehadtotakehersmallboat withitsrustedenginetothemainland, shesimplydockedatCook’sCornerand enteredYork’sGeneralStore,gathering whatshewishedor,ifabsolutelyneces¬ sary,pointingasifshewereinaforeign country'whoselanguageshedidn’tknow atall.Nobodyevermadeherpay,nor— thisbeingMaine—didanyonelaughat her.Tothefewwhorecognizedher, Claudia was simply that woman who livedaloneononeoftheislands.Surely herwayoflivingwasnoneoftheirbusi¬ ness?

Shewouldputupwildberriesand whatevervegetablesshecouldmake growonherislandandifshehadnoth¬ ingelsetoeatshecouldalwaysretrieve seaweedfromthecove.Eveninwinter. Perhapsshewoulddoabitofknitting,

butotherwiseshewouldspendhertime forgetting.Forgettingtheterriblefire,for¬ gettingTheWar,forgettingthecareer sheneverhad,forgettingJimmy.Soit shouldcomeasnosurprisethatwhenon afoggy'morningnearlyforty'yearsafter the Cocoanut Grove Fire, a young mosser named Danny accidentally scrapedhisBostonwhaleragainstarock inClaudia’scove,theisland’ssoleresi¬ dentwishedatoncetogetridofthe potentialintruder.Nevermindifhewas hungryorlostorwhetherhisboathad beensufficientlyhurttogoanyfurther: ClaudiaReillyrushedthroughthetall, tangledgrassesbetweenhercottageand thewaterpreparedtotelltheyoungman toleaveatonce.Getoutofhere!Scram! Immediately!Butwhenshetriedto speakshewasunabletoshape,letalone release,anywordsfromhervocalcords.

Dannyw'asthirsty,terriblythirsty'. Hungryasw'ell.Thusdespite Claudia’sbesteffortstoshoohim aw'ay,heinsistedonfollowing herintothecottage.

“Holymoly,it’sfreezinginhere.Don’t youhavenowoodforyourstow?‘

Claudiapointedtotheancientstove andtriedhardtoexplain,butagainshe couldshapenowords.

‘Youlivelikethisallthetime?I’msur¬ prisedyou’renotdeadfromhypother¬ mia.Thatmeansfreezingtodeath, ma’am.1wenttotheUniversityfora year.Untilmyoldmandiedand1had togobacktomossing.Listen,yougot anythingtodrinkorcat?"

Dippingaspoonintoapotofcold, clay-coloredsoupwithlittleweedsfloat¬ ingaroundthetop,Claudiapouredthe soupintoawhitebowl.

“Listen,thissoup’snottoobadbutit woiddtastemuchbetterheatedup. Haveamatch?”

Claudiashookherhead.

“Thenletmeusemylighter.Luckyit stayeddry'.”Snappingapartafew'sticks of wood from Claudia’s broom and placingthemintheemptypitofthe stove,Dannyflickedhislighter.Along tongueofflameleapedout.Beforehe w'asabletoignitethewoodsticks,Clau¬ dia’splum-redskinturnedthesamesick-

GardenBenches,Urns,IronTablesandChairs

Featuring:

18th8c19thcentury Americana

Samplers

Folkart

Paintedsmalls

18th,19th8c20thcentury Paintings

includinganextensivecollectionofworksby

JohnDehlingerandotherMaineartists

PeriodAmericanFurniture

18th8c19thcenturyperiodAmericanFurniture

AsianAntiques

Chineseporcelain

Bronzes

Ivories

Japaneseblockprints

Netsuke

ArchitecturalAntiques

Columns

Mantles

Stainedglass

IronGates

Garden

Castironbenches andchairs

Urns

Statuary

Wroughtirontables

NauticalAntiques

Telescopes

Portholes

Paintings

Shipsmodels

NavigationalInstruments

OrientalRugs

Openeveryday,ioam-6pm

On?-shopisamuseumfilledwithtreasuresfromaroundtheworld...pleasestopin!

Victoriancastironsetteeand4chairs

18thcenturycarvedmarbleFooDog ItalianGypsyBeggar,oiloncanvas, 19thcentury,3x2'

Cruiseonaboattourofthe KennebecRiver.Learnhowto traplobsters.Watchourboat buildershandcraftwooden boats.Admirevisitingsailing shipswheninport.Seeablack¬ smithfashionhotiron.Explore Maine’smaritimeheritageinour hands-onexhibits.

Mainemaritimemuseum

■ FICTION ■

eningshadeofbluishwhitehehad seenonthefaceoflittleJonnyHarwell whentheboywasfishedfromthe watersofCascoBay,thepoliceesti¬ matinghehadbeendeadatleasttwo hours.

“Please,ma’am,sitdown.Ipromise I’llreplacejourbroom.Here.Letme tryagain.”

Thistimetheflamethatspurted fromthelighterkeptongenerating itselfsoinamatterofminutesitwasat leastfourfeetlong,atwistingand windingredsnakethatrefusedtostop growing.

Andforthefirsttimeinnearly40 years, Claudia Reilly screamed. Screamedsoloudyoucouldn’thear the surf or the gull-squawks; screamedsoloudthatDanny’sear drumsbouncedupanddownlikethe keysofacashregister.“Stopit,stopit!” Claudiascreamed,“StopitbeforeI havetojump.”

Dannymanagedtocontrolhis flamebydousingitwithwater fromthepump.Sowhatifthe soupwascold.YetitwasClau¬ diaherselfwhoinsistedon flickingthelighter’stinygrooved wheel,thendancingandsingingwith eachnewburstofflame.“I’llnever havetobecoldagain.Never..She suddenlyrememberedafolk-taleher grandmotherhadtoldherabouthow insomeweirdplace,maybeitwasAus¬ traliaorNovaScotia,anoldwoman usedtocookallthefoodwithfirefrom herownbod}’.Exceptthatonedaya youngboystolethefire.

Whathappenedafterwardswecan onlyspeculate.Peoplefromnearbyis¬ landsnoticedthedamagedBoston Whaler,butassumeditbelongedto whoeverlivedinthecottage.Perhaps onemonthpassed,perhapstwo,per¬ hapsayear.Whentheauthorities searchedtheisland,theyfoundnot onesinglevestigeofhumanlife.Not evenapieceofbone,atooth.Butthe charredremainsofthecottagearestill visibleifanyonedarestoapproach, perhapstoexplore,whatwasonce Claudia’s Island. H

NEED AN ESCAPE FROM LIFE IN THE CITY?

September11,13,18&25

Againthisyear,BoiseCascadeinvitesyoutojoinour professionalforestersforafreetourofourworkingforests.

•ToursleaveourAdministrationBuildingonHartfordStreet inRumfordat7:30a.m.andreturnby3p.m.Rainorshine!

•Lunchisprovidedfreeofcharge

•Childrenofallagesarewelcomewithadultsupervision

•Closed-toeshoesandappropriateclothingisrecommended

Spaceisavailableonafirst-come,first-seiveilbasis,soreservations arerecommended,liaiseCascadeiscommittedtomanaipni;forest resourcesfornowandintothefuture—comeandseeforyourself!

ToreserveaplaceonaBoiseCascadetour,pleasecall theCommunicationsDepartmentatleastfiveworking daysinadvanceat(207)369-2727.

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Cecilia L.Caldwell, M.D.

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Bruce L Churchill, M.D.

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