Vermont’s history of women, Native Americans, and African Americans revisited

Reviewed by Tena Starr

copyright the Chronicle 8-29-2012

Vermont Women, Native Americans & African Americans, Out of the Shadows of History, by Cynthia D. Bittiinger.  Paperback.  158 pages.  Published by the History Press.  $19.99.

It generally wasn’t until the 1960s that Vermont history books were written to acknowledge the fact that Europeans were not the first to inhabit this ground, Cynthia Bittinger says in this slender book.  The man who finally assembled a convincing body of research on the early presence of the Abenaki, the man who finally managed to get historical mention of a people who’d been here for something like 11,000 years before Europeans were, was from Albany.

Historians generally credit Gordon M. Day with being the person who unearthed New England’s native past, Ms. Bittinger says.  Mr. Day was born in Orleans County in 1911 and, as a child, played with children who were part Abenaki.  He also knew the area as a place for natives to hunt and trap.

“In his adult years, he initially set out to study forest ecology, but after serving in World War II, he decided to devote himself entirely to saving Abenaki culture from oblivion,” Ms. Bittinger writes.

Mr. Day used French records (apparently more accurate — and more friendly — than British records) and Indian tradition in his research, discovering that, until the end of the eighteenth century, the village of Missisquoi, near present day Swanton, was a political hub for Western Abenaki.

Since he knew the Abenaki language, he was able to avail himself of natives’ oral tradition to reconstruct a narrative for a people who had either died wholesale, largely from European diseases they had no immunity to, or willfully vanished, either literally or figuratively, in order to avoid persecution, destitution, or sterilization.

What, Ms. Bittinger wonders, allowed for misinformation so grave that an entire people was excluded from the history books?  Ethnocentricism?  Lack of imagination?  Lack of sources?  The willingness of the Abenaki themselves to disappear?

Whatever the cause, Ms. Bittinger has done her part to remedy the omission and devotes the initial part of this book to the eastern Indian tribes.

The American Revolution seemed to spell the end of the Abenaki as a visible presence, she says.  Although many pulled back into Canada, some lingered in northern Vermont.

However, the Abenaki did little to reclaim their own history, possibly because of fear of retaliation for taking captives or attacking settlers, Ms. Bittinger speculates.

Later, in the twentieth century, Abenakis would be likely to hide their ancestry if possible because revealing it could lead to involuntary sterilization through the eugenics movement, which was not only aimed at Indians, but also at the poor and the less intelligent.

Ms. Bittinger has packed an awful lot of information into this little book.  Any one of the subjects she tackles here could have been a book in itself.  However, the section on the natives of Vermont is the most tantalizing and left this reader, at least, yearning for more.

Ms. Bittinger is a history professor as well as a commentator and lecturer, and this book reads more like a text than a narrative, with brief, sometimes very brief, descriptions on significant events, people, and historical information.  Each section ends with a “conclusion,” summing up the information that precedes it, much in the way one might write a scholarly paper.

What Ms. Bittinger set out to do, though, is admirable.  “Women and people of color have been denied a usable history,” she writes in her introduction.  “With a focus on landscape, military battles and government, natives, blacks and women are usually not included unless they participated in a battle or ran for office.”

But people have a need to know where they fit into the American story, she says.  “I am offering this history to change the narrative of Vermont’s past, present and future.”

She says she has tried to focus on the positive, on those who worked to improve the lives of others.

Vermont has often been ahead of the curve in its efforts to afford equal rights to its people, but it’s far from perfect.  For instance, passage of an Equal Rights Amendment for women failed as late as 1986.

In the nineteenth century, often women who died were not even remembered by their names on gravestones.  Widows were referred to as “relicts.”  Ms. Bittinger offers this example:  “Experience.  Relict of Samuel Wellington.  Died Dec. 17, 1838. Age 69.  Her first husband was Elias Bemis.”

The fact that maiden names were sometimes not included on headstones, can make tracing geneologies tough.

She moves rapidly from the grimness of that time for women, recording gains and the stories of some of the remarkable women who helped achieve them.

Ms. Bittinger’s credentials are long and illustrious.  She teaches Vermont history for Community College, she’s a lecturer, she’s a founding member of the Vermont Women’s History Project at the Vermont Historical Society, a commentator on Vermont history for Vermont Public Radio, and was the executive director of the Calvin Coolidge Memorial Foundation in Plymouth for 18 years, and her commentaries on Grace Coolidge won the Edward R. Morrow Award.

If you’re looking for a captivating read, this isn’t the book, but it does impart some very useful information about Vermont history and some remarkable people who risked their lives, or at least security and prosperity, to make this state be the leader it remains in civil rights.

Ms. Bittinger has done her homework, and produced an edifying volume of work that outlines not only many of the brave and ethical people who helped push this state forward in its fight for decency and fairness, but also honestly discusses where it’s gone wrong.

contact Tena Starr at tena@bartonchronicle.com

For more free articles from the Chronicle like this one, see our Reviews page.  For all the Chronicle‘s stories, pick up a print copy or subscribe, either for print or digital  editions.

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Anna Baker was a brilliant artist with a comic touch

copyright the Chronicle, August 8, 2012

World of Fantasy, The Life and Art of Anna P. Baker, by Beryl Hutchinson and Roz Hermant.  Self-published.  185 pages in paperback.  $59.95.

Reviewed by Chris Braithwaite

I need to begin this review by confessing my bias.  Anna P. Baker, the subject of this richly illustrated work, was both a close friend and an important contributor in the Chronicle’s early years, when it remained to be seen whether it would sink or swim as a community newspaper.

That it swam, I believe, was due in large measure to one of the most unlikely duos to ever put ink to paper.  Loudon Young was a dairy farmer all his life, and his role in my life as friend, neighbor and mentor in the ways of rural Vermont predated the first Chronicle by four years.  When I asked him if he thought a weekly newspaper in Barton would have a chance of survival he said he didn’t think so.  Given his preference for color in language, he more likely said that such an enterprise would have a snowball’s chance in hell.

So it was a considerable surprise when he volunteered a column for the first issue, and a greater surprise to discover that this highly accomplished talker could also write, and that his writing was very funny, indeed.  His back-page column immediately became a weekly feature in the paper.

We didn’t make Anna Baker’s acquaintance until we were moving the office from a farmhouse in East Albany to an old barbershop on Barton’s Upper Main Street, and she wandered in to find out what the devil her new next-door neighbors were up to.

She found us amusing.  But then Anna found most things in life amusing.  That knack, along with the most exquisite good manners I have encountered in another human being, were pretty much what got Anna through an otherwise challenging life.

Anna told us she was an artist.  But I don’t think she mentioned that she was also a cartoonist.  She was a good enough cartoonist that, as a 16-year-old art student at a London, Ontario, technical school, she was interviewed for a possible career in animation with the Disney Studios.

I didn’t know that last detail until I read this book.  At any rate, it wasn’t long before Anna brought in a cartoon she thought we might like to publish.  Her chosen subject?  None other than the above-mentioned Loudon Young.  Loudon’s profile — a sharp chin often decorated with a bit of a beard, a sharp and substantial nose — was a cartoonist’s dream.  But it was Loudon’s humor that captured Anna, because his ear for what was funny about the most ordinary, everyday situations so exactly matched her eye.

Both of them thought there was something fundamentally funny about the common cow.  Loudon wrote about them constantly.  In her book, Beryl Hutchinson reproduces the first Baker painting she acquired.  Called Pent House Farm, it was executed at that same technical school, which Anna attended in 1944-45.  It’s a whimsical, wonderfully busy urban landscape with people farming on the rooftops of a couple of apartment buildings.  Ms. Hutchinson is careful to point out that it includes, atop one roof, Anna Baker’s first cow, a Holstein.

Anna’s renderings of Loudon and his cows appeared in many Chronicles over the years that followed.  They accompanied the best of Loudon’s columns in the Chronicle’s first book, Off Main Street, West Glover, Vermont, and the dairyman and his Holsteins were featured in a series of calendars she drew for the paper.

A generous selection of these cartoons is included in World of Fantasy.  But there are also many of her “serious” works — whimsical, intensely detailed, richly colored paintings that will delight the fans who have an Anna Baker hanging on the living room wall, and surprise those who know her work only through the Chronicle.

As we grew to know Anna, it became obvious that we were in the presence of an artist of great talent and considerable reputation.  Her works caught the eye of critics and connoisseurs wherever they were displayed.  That her reputation didn’t reach further was to some degree her own fault.  She volunteered once that a friend, a sophisticate in the business of art, had told her she couldn’t find success as an artist if she insisted on living in a backwater like Barton, Vermont.  She needed to be in New York City.  Anna acknowledged the advice as sound, and chose not to take it.  Whatever glue held her to the Northeast Kingdom, we are all the richer for it.

Beryl Hutchinson enjoyed a friendship with Anna Baker that went back to high school.  Her book includes a photo of a schoolgirl softball team named the Eagles with Anna in the front row, Beryl in the back.

Thus Ms. Hutchinson was the ideal person to stitch together this fully illustrated biography of the artist.  She opens with a surprising revelation about Anna’s origins — a surprise best left to her readers — and takes us through the artist’s school days, her formal education at the Art Institute of Chicago, which she entered in 1951, and the early teaching career that led to her friendship with Bunny Hastings, daughter of a prominent Barton physician.  That friendship brought Anna to Barton, and lasted the rest of Bunny’s life.

Anna beat cancer once, but lost the second round and died in 1985, at just 56.

To all of those who still miss her kindness, her wit, and her great talent, this book will serve as long-awaited consolation.

To buy World of Fantasy, go to “contacts” at  www.annabaker.net, or see www.blurb.com/bookstore/detail/3334768.

contact Chris Braithwaite at chris@bartonchronicle.com

For more free articles from the Chronicle like this one, see our Reviews pages. For all the Chronicle‘s stories, pick up a print copy or subscribe, either for print or digital  editions.

 

 

 

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Freeman short stories tell small town tales

copyright the chronicle July 25, 2012

Round Mountain, by Castle Freeman Jr. Published by Concord Free Press, Concord, Massachusetts, 2012; 182 pages, softbound.

Reviewed by Joseph Gresser

Castle Freeman is an economical writer. His characters are stingy with their words and his descriptive passages are spare.

Economical readers, too, will be delighted with Round Mountain, a collection of 12 short stories set in Vermont, not just because it is beautifully written, but because it has an appealing price — free.

Actually, free doesn’t tell the entire story. Although the Concord Free Press does not charge for the book, the reader must promise to donate to a charity and to pass the book on to another reader with the same obligation.

Round Mountain is a book that a reader might well want to share. The stories center on Homer Patch, an unexcitable man of a distinctly practical bent.

The tales give glimpses of Homer’s life and the life of his community. They cover different periods of his life, from boyhood to early middle age.

In Round Mountain, though, the stories are not arranged chronologically. The reader has to reconstruct the sequence of events that, for instance, led to Homer’s complicated marriage to the much-younger Angela.

The couple has a son, Quentin, who, for unknown reasons, does not speak. The boy, who is not obviously disabled, wanders off in the title story. Townspeople join together in a search effort that, in a burst of magic realism, reveals to Homer his town’s real place in the world.

During the course of several stories, Homer serves his town as constable. Like the lawmen in Mr. Freeman’s other recent books Go With Me and All That I Have, Homer is not a by-the-book officer. He is the kind of person others call on when they need help solving a problem.

In “The Women At Holiday’s,” a call to expel a trespasser from a summer person’s shed is handled effectively, but in a way that satisfies neither the property owner nor Homer’s boss.

A more serious problem, in the person of a threatening stranger, appears in “The Montreal Express.” Homer’s instinct, as always, is for inaction and the apparent danger goes as mysteriously as it appeared.

For Northeast Kingdom readers, Mr. Freeman’s Vermont will have a real resonance. Although the stories are apparently set farther south, the community he creates is more typical these days of Orleans or Essex counties.

As in the Kingdom’s small towns, everyone gathers a history that is quietly registered in his neighbors’ memories.

Certainly, people talk about Homer, but also about Makepeace, a city lawyer who finds a place in the community — not without making some hard discoveries along the way.

Two people who find no welcome in Homer’s town are a retired police officer, whose burglary prevention efforts prove too effective, and one of the thieves who see them as a challenge. By the end of “Bandit Poker,” both men have found leaving the area to be the wisest course of action.

In addition to being a cat-and-mouse story, “Bandit Poker,” is a gritty meditation on how society deals with young men whose level of energy far outstrips their judgment.

Round Mountain is worthwhile both as a work of literature and an effort to inspire generosity. Those who wish to participate in both aspects of this project can do so by going to the Concord Free Press’ website at www.concordfreepress.com/roundmountain.

contact Joseph Gresser at joseph@bartonchronicle.com

For more book reviews, visit the Reviews page.

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Magalis novel is first of whodunit series

Cover art for The Body in the Butter Churn was done by Lila Winstead of Glover.

copyright the Chronicle, July 15, 2012

The Body in the Butter Churn:  a Green Mountain Whodunit, by Elaine Magalis, self-published, softcover, 280 pages, $11.95, available online at www.createspace.com/3715414 or www.amazon.com

Reviewed by Bethany M. Dunbar

Anyone looking for a summer mystery to read should take a look at Elaine Magalis’ new book, The Body in the Butter Churn:  a Green Mountain Whodunit.

As you might discern from the title, the opening scene is pretty grim when a group of people find an old lady’s very recently murdered remains crammed into a butter churn.  The butter churn is in a museum patterned after the Old Stone House Museum in Brownington, where Ms. Magalis used to work.  In fact the book is dedicated to “The Old Stone House and all who have loved her.”

No murder ever took place there so far as I know; in fact, not even a crime of any note.  Nevertheless, the kids I worked with knew the place was not quite right:  they caught sight of ghosts walking in the hallway; they knew the past was more alive there than the present.

These days the present is more alive than it probably was then — still there is no doubt the old building has an aura of mystery about it.  Who knows what might have happened there over all the years?

Ms. Magalis created two memorable characters in The Body in the Butter Churn.  They are 12-year-old Alex Churchill and Tasha Mulholland, an older woman, who pair up to solve the crime.  Alex is a bit of a nerd who helps with odd jobs at the museum, and Tasha Mulholland is the elderly caretaker who plays the cello to relax and teaches Alex a vocabulary word each day.

Mrs. Mulholland’s son is a police officer.  He doesn’t recruit the duo to help on purpose, but they start to think about the circumstances and the people involved, get curious about certain aspects of the situation, and before you know it they are a team of amateur detectives, flying under the radar which turns out to be a good place to be to find out certain details.  It’s the old Columbo phenomenon.  The television detective’s signature style was a ruffled up raincoat and shabby haircut, which belied a brilliant mind who shuffled his way into solving case after case, accompanied by a pet cockatoo.  Most murderers would not suspect an elderly lady and boy on a bicycle of being a threat — and therein lays the pair’s chief strength.

Although this is her first murder mystery, Ms. Magalis is not a new writer.  In 1973 she wrote a book called Conduct Becoming to a Woman:  Bolted Doors and Burgeoning Missions, published by the United Methodist Church — a history of women in missions in that church.  That book was republished in 2003.  She is the author of a blog about art and writing at an older age called Late Fruit, which people can read at latefruit.wordpress.com.

Her self-published book is graced with cover art by local artist Lila Winstead, and professionally edited and proofread by some of her friends including the Chronicle’s own Jeannine Young.

Ms. Magalis’ writing is vivid but clean, simple and satisfying.  Here is her description of the daughter of the murder victim:

Ms. Mulholland knocked and Mrs. Hamilton’s daughter swung the door open and stared down at Alex.  Dressed in a not-quite-shocking purple kimono, with red hair to her waist and a big chin like Jay Leno, she reminded him of the redheaded witch in a book about English werewolves he’d found in the library.  She didn’t look like Mrs. Hamilton at all.  Just as well.

Later, in a conversation about the eBay bids for what turns out to be a painting with some critical clues to the crime, one of the characters mentions that the bids have gone quite high.  The man turns to his wife and asks for her confirmation:

“Aren’t they, my dear?”

“They are high,” Abigail managed to say, her thin frame wavering like a shallow planting by the car.

Ms. Magalis’ debut mystery — in what is going to become a series — is well worth picking up.  A good opportunity for it is coming up — she will do a reading at the Galaxy Bookshop in Hardwick on Thursday, July 19 at 6 p.m.

contact Bethany M. Dunbar at bethany@bartonchronicle.com

For more book reviews, visit the Reviews page.

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Dunbar was uniquely qualified to write Kingdom’s Bounty

Reviewed by David K. Rodgers

Kingdom’s Bounty “A sustainable, eclectic, edible guide to Vermont’s Northeast Kingdom,” by Bethany Dunbar, published by Umbrage Editions 2012, soft cover, 128 pages. $25.

Bethany Dunbar of West Glover is uniquely qualified in many significant ways to have written and illustrated her new book, Kingdom’s Bounty, “A sustainable, eclectic, edible guide to Vermont’s Northeast Kingdom.”  She was raised and went to school in Craftsbury, graduated from Lyndon State College, worked with her ex- husband as a dairy farmer for 11 years, was a reported for the Hardwick Gazette, and then for the last 25 years has been a reporter and co-editor at the Barton Chronicle.  In addition she gives a weekly radio interview about local news stories on WDEV, is a regular contributor to New England Country Folks and is past president of Vermont Press Association, still serving on its board of directors.  A fine photographer, she knows the Northeast Kingdom in great depth and has her finger on the pulse of new trends there, especially those involving food.

Kingdom’s Bounty, just published by Umbrage Editions, goes beyond a simple factual guide to being a real celebration of the people, community and landscapes of the area.  As one of the people profiled in this book (Mrs. Everts of Too Little Far,), susintly summed it up about locally grown food, “It has a story and a name behind it.  It has a person.  It has a place.”  Ms. Dunbar uses her journalistic skills to bring out  the human aide of numerous hardworking entrepreneurs and artisans who are fulfilling their personal vision of a better life and an excellent product, all of whom have put the Northeast Kingdom on the national map as being in the forefront of the local, organic, healthy food movement.  These are people who really care about what they do, who are solidly connected to the land and the cycles of the animal and plant life around them, living in a more biological rhythm as opposed to the omnipresent mechanical (and now electronic) rhythms of our culture.

This guide is generously illustrated and very attractively printed, predominately with Ms. Dunbar’s own well composed evocative photographs, which are always empathetic to the subjects.  The text has 32 profiles and over 200 listings, carefully organized alphabetically by the name of the enterprise and the town where they are located, with helpful cross references, suggested tours, and a good map.  What makes this guide special is that it combines a lot of useful information with an engaging personal narrative.  It is comprehensive in that it includes more than the edible, with entries on museums, inns, bookstores, county fairs and other activities as well as interesting side features on types of cows, barns, and not to mention the history and geology of the region.

Altogether Kingdom’s Bounty is a labor of love for the beauty of the Northeast Kingdom and the richness of its people.  We should carry a copy of it in our car to encourage exploring this amazing place we call home.

Bethany M. Dunbar will share a booth at the Orleans County Fair in Barton with the Chronicle.  The fair is August 15 through 19.  To order a copy of Kingdom’s Bounty at a special discount for Chronicle readers ($20 plus $9 shipping and handling), click here. Kingdom’s Bounty is also available for $25 plus tax at the Galaxy Bookshop in Hardwick, the Woodknot Bookshop in Newport, the gift shop at the Old Stone House Museum in Brownington, the MAC Center for the Arts in Newport, Barnes and Noble in Burlington, Hudson News at the Burlington International Airport, and the Craftsbury General Store.

 

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Keizer takes on the ever-changing subject of privacy

Privacy, by Garret Keizer.  183 pages. Published by Picador, New York, New York.  $15.

copyright the Chronicle June 13, 2012

Reviewed by Tena Starr

In his latest book, Garrett Keizer of Sutton has taken on the complex and ever-changing subject of privacy.  Well, perhaps the fundamental nature of the subject hasn’t changed much, but the potential for its violation certainly has and likely will continue at an accelerating rate.  In the world of Facebook, Google, and, of course, the Patriot Act, privacy is increasingly rare — both by choice and by force.

“Government agencies and private corporations vie with each other to know the most about us — and sometimes join hands out of mutual interest, as Yahoo and Google have done in both the United States and China,” Mr. Keizer writes.  “Verizon alone receives 90,000 demands from law enforcement agencies every year.”

We all know about airport security, strip searches, racial profiling, and the increasingly sophisticated ways that corporate America uses to track our every interest for marketing purposes.  Mr. Keizer digs much deeper than that well plowed ground.

He asserts that privacy is both necessary to human dignity and to democracy.  And he says that, in a society where there is a widening gap between the wealthy and the have-littles, in a society where there’s also a shrinking amount of privacy, he sees a connection between the two.

“We tend to think of our right to privacy as a value that came about with the historical growth of the middle class,” he writes.  “If, as current indices of income suggest, the middle class is vanishing, then it should come as no surprise if the privacy of all but a few people is vanishing with it.”

He goes on to say that privacy is important because people are important — obvious statements, he admits.  “….though if they were that obvious, or universally believed, we would not be so easily resigned to losing our privacy and to watching so many of our fellow human beings falling further and further behind in health, in education, in political power, and in privacy.”

This is a dense, thoughtful, and deeply researched (the bibliography is 11 pages) little book that covers a lot of ground, makes one think, and explores a variety of aspects of the general theme, some more easily substantiated than others.

For instance, I’m not so sure the wealthy are subject to less privacy than the poor.  Surely, no one is so intent on crashing Jane Doe’s wedding as Angela Jolie’s.  But Mr. Keizer does give a nod to the reality of living rich and famous.  The camera, as it’s advanced, has contributed to a decline in privacy even for celebrities.  Once, a person had to stand still, implying some consent, to have a photo taken.  That’s no longer true, and celebrities, while presumably enjoying their celebrity and wanting to promote it, no longer have the control of their images that they might like.  Of course, nor do the rest of us — and without the benefits that come with fame and wealth.

“….giving a thorough introduction to privacy is not the same thing as giving it an airtight definition, a project I regard as both impossible and unwise,” Mr. Keizer writes.  “That’s not to say I won’t try for a tentative definition later in the book, or that I agree with a scholar who says, ‘Perhaps the most striking thing about privacy is that nobody seems to have any very clear idea of what it is.’”

The author believes that most of us do have a clear idea — “If not clear enough to define the word, then clear enough to express the need behind it.”

Mr. Keizer himself is a private man.  Here’s his own comment:  “‘You and your men friends should form a club,’ my daughter once said to me when she was still a child.  ‘You’d have only one meeting a year and all of you would refuse to attend it.’”

In this book he says a friendship was jeopardized because a longtime friend shared some of his (Mr. Keizer’s) letters with other friends without asking permission.  He scanned the paper letters and e-mailed them.  The friend seemed more baffled by, than defensive about, Mr. Keizer’s reaction, perhaps not surprising in this age of Facebook when some people share the tedious to the most intimate with hundreds of so-called “friends,” sometimes people they do not even know.

But Mr. Keizer spends relatively little time on today’s technology and social media.  Instead, he examines privacy as a political and personal right — what it is, how various cultures (some that live in far more communal societies than America’s) assert it, and what role it plays in both society and government.

He notes that the word “privacy” does not appear in the U.S. Constitution.  In fact, we were well into the twentieth century before it was articulated as a right, notably in the Fourth Amendment, which is aimed at protecting Americans from unreasonable search and seizure.

It’s not the Constitution that’s being subverted by Big Brother so much as the will to resist, without which there would not have been a constitution in the first place, Mr. Keizer says.  “Privacy can be viewed as resistance in its most primal form,” he writes.  Where pacifism is the goal of power, privacy is reduced as much as possible.

This is an important idea.  A people with no privacy are a more easily subjugated people, and stripping away privacy diminishes democracy.   “Americans speak of their system of government as one of checks and balances, but the ultimate check on government as a whole is its inability to know everything about those it governs,” Mr. Keizer says.

“We have a tendency to think of privacy too much in terms of solitude, although solitude is a part of it.  In the darkness of solitude the seeds of genius are able to germinate; we need only think of the number of religious and political movements that began with their founders in retreat, in the wilderness.”

Privacy is about freedom from interference, Mr. Keizer says.  But it’s also about the freedom to form a “collective individuality,” a political or social movement.

“Small social units and solitude continue to be important even when a body politic is fully formed, especially if its body type is democratic.  Privacy provides a zone of reflection and discussion in which gentler, less forward personalities can have some hope of making a contribution.  It gives temporary asylum to those who know themselves to be impressionable, a space to regroup and get their bearings.”

One need only think for a moment of the tone of so much of today’s media with all its frenzy, people shouting over one another, its intrusiveness, and hyper-partisanship to yearn for that zone of reflection and discussion Mr. Keizer mentions.

This is a book to be read slowly, thoughtfully, and probably more than once.  Mr. Keizer offers much to digest, although no clear remedy, except perhaps, the very concern and reflection that would lead one to read this book in the first place.

contact Tena Starr at tena@bartonchronicle.com

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Stand Against the Wind tells wind protesters’ stories

Stand Against the Wind:  Civil Disobedience in the Green Mountain State by Chris Braithwaite, Chronicle Inc., Barton, Vermont.  2012, 110 pages, softcover, $19.95.

Reviewed by Julia Shipley

copyright the chronicle May 23, 2012

No matter where you stand on the issue of installing 21 commercial wind turbines atop the Lowell mountains in Vermont’s Northeast Kingdom, whether you bristle and grieve or feel triumphant or resigned, whether you live here, in Orleans County, or in Atlanta, Georgia, whether you have been doggedly following news of the mountain occupancy or whether you feel exhausted at the very mention of the word “issue,”— whomever you are, you might find an endangered pleasure in this new book, Stand Against the Wind by the Chronicle’s co-founder and publisher, Chris Braithwaite. Those pleasures include both a textbook example of old school, shoe leather journalism built of substantiated assertions and meticulous reporting and the smithing of that information into about 2,000 utterly gorgeous sentences. One right after the other, his narrative travels in boxcars of strong, clear prose driving each of the book’s 27 chapters, and making a collective portrait of civil disobedience committed by six individuals.

The book begins with a symbolic and actual dividing line on top of Lowell Mountain.  As Braithwaite analyzes what the actual plastic tape-line divides, his litany of things divided, and the disparities presented, culminate in this lovely sentence:  The bright orange tape is a line “between a place that is so high, so cussedly strewn with deadfalls and moose shit that nobody goes there except to hunt and hike, each winter for many years to enjoy the near-wilderness experience of camping in the snow; and a mountain so convenient that a guy can drive his pickup to the top just to check the oil on a multimillion dollar machine.”

This first editorial chapter (originally published in the Chronicle) invites us to “risk feeling that you are being torn in two…up where the blasting will soon begin.”

For those of us who did not accept that invitation, the Chronicle has consistently covered the issue for months, and even years.

Although the book encompasses some key events leading up to the commencement of Green Mountain Power’s project to install industrial wind towers on one of Vermont’s northernmost ridgelines, what Braithwaite calls “a wonderful sort of nowhere, ” the book takes for its subject the actions of some concerned citizens to stop it from happening. Like a club sandwich, the book is not just lettuce and cheese, the names and the dates, the he said, and she said. There are other layers interspersed, and the meat of this feast is really found in the in-depth profiles of a half dozen protestors, whom we meet one at a time, the six people most consistently involved with using “direct action.”

“Who cares?” and “Why do they care?” But more importantly: “How do they care?” — this exploration of what care-in-action looks like, of how to gracefully express distress is certainly pertinent to everyone. For even industrial wind tower proponents surely have, at one time in their life, experienced a feeling of powerlessness against a larger force usurping and/or annihilating, something they love.

Stand Against the Wind introduces us to these complicated, intelligent, thoughtful, people, who resist the paralysis of despair and flex that constitutional right we’ve all been guaranteed: the right to express our dissent.

As we learn in the fourth chapter, this expression is first modeled by Anne Morse, who explains to Braithwaite, “The point isn’t getting arrested. The point is the direct action that leads to the arrest. I think that it highlights the problem… people coming together collectively to highlight something that’s happening that’s wrong.”

Subsequent chapters feature profiles on Dr. Ron Holland, Eric Wallace-Senft, David Rodgers, Suzanna Jones, and Ryan Gillard. These interviews feel intimate, as Braithwaite allows each person to articulate the life circumstances and experiences that informed their actions on the Lowell Mountains. Their testimony is so unadulterated, it’s as if we’ve been given access to the inner thoughts, to their minds shifting, reorganizing, each building to his or her own truth. Whereas David Rodgers comes to his decision to protest thorough an increasing urgency realized in an intuitive way, confessing “It’s not something I did methodically, it was more a sense that I need to take a stand,” for Dr. Ron Holland the route to civil disobedience was incredibly logical. His focus was the policy debate. “It’s my sense if this could be put out in a quantitative kind of way — which it can, and it hasn’t been — it would be fully obvious. ”
Although a full disclosure of the links and liaisons I have to the people within this book would supplant the space needed for this review, one disclosure seems too relevant to omit:  On November 2, 2009, almost three full years before the first dynamite charges were detonated, I sent an e-mail to Mr. Braithwaite (who, by dint of having published the Chronicle for the past 38 years is the dean of my de facto journalism school — meaning: I study his work intensely).  In the e-mail I asked, “How do you train in objectivity? You must have an opinion on some of the things you report because: these things will affect you. The Wind Towers? If you’re feeling strongly do you suppress your opinion when writing the article but blurt it out in a once in a blue moon editorial?

Mr. Braithwaite replied tersely (but gamely) the next day with, “Proposed experiment: Read the page 1 story about Lowell wind [Wind friends, foes focus on Lowell Mt. by Chris Braithwaite November 4, 2009], then decide whether the Chronicle favors or opposes wind power in general. Then read the editorial. Did you get it right?”

I deduced, by analyzing every word, examining ratios of which perspectives got more column inches and observing that wind tower proponents got to have the last word, that probably: “Braithwaite wants big wind.” (Obviously, I won’t be graduating from my self- invented J-school at the top of my class.)

Braithwaite further explained, “the reporter’s job is to understand the interests involved and lay them out coherently, like a good sports writer advancing a world series game. You can’t do that well if you let your misguided affection for the Yankees color your assessment… so you learn not to.”

This occupational hazard is tackled again in his book. Much as the footing up to the mountaintops is moose-shit slick and tricky, so Braithwaite also admits to coming “dangerously close” to slipping over the thin partition and being a protestor. Though he accepts the cup of coffee brewed by some of the mountain occupiers, a steaming cup which he describes as a “shocking luxury” on that chilly morning, he refrains from civil disobedience, realizing he cannot report on the protest if he joins them by bending over to make a cairn of the blasted rubble or carry a handful of soil to a freshly planted sapling. And though he jokes in another chapter about the sacrifices his job demands (in particular, how a bout of extended reporting kept him from fully participating in a deer camp getaway), I feel it necessary to point out that for the readers, having a newspaper like the Chronicle at all is a shocking luxury. And that Braithwaite’s actual sacrifice to forgo his expression of civil disobedience has yielded us his newspaper’s ongoing coverage of the commercial wind project, a true boon being as we live too far beyond the radar to merit extensive coverage from other media outlets.

In the book’s introduction, Braithwaite acknowledges that he is damn glad he has postponed retirement to cover what he calls “one of the best” stories in his nearly 50-year career. However, lest we take something seemingly rock solid, enduring and readily available week after week, year after year, like the familiar silhouette of the Lowells themselves for granted, I [editorial comment approaching] believe this book, along with the coverage the Chronicle has provided, are as welcome and revitalizing as a strong cup of coffee on a cold morning in the newly blasted landscape.

Stand Against the Wind will be available soon at the Galaxy Bookshop in Hardwick, Green Mountain Books and Prints in Lyndonville, Woodknot Bookshop in Newport, and at the Chronicle office in Barton. The book can be ordered now at: www.createspace.com/3869681.  Julia Shipley is the author of a poetry column about Vermont poems called “It could be Verse,” and she was the 2006 winner of the Ralph Nading Hill Award sponsored by Green Mountain Power, for which she received a cash prize of $1,500. She can be reached at her website:  Writingonthefarm.com.

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An intimate drink with a literate coyote: Perimeter Check II

Perimeter Check II, Tales from Vermont’s Upper Kingdom, by Paul Lefebvre.  Published by Beck Pond Books.  187 pages.  $14.95.
Reviewed by Julia Shipley
copyright the Chronicle February 23, 2011
Fans of Paul Lefebvre’s know how his weekly column for this newspaper, Perimeter Check, is delivered like an intimate mutter, as if you’d dared yourself to climb on the barstool next him as he was ten minutes into his second whisky, and he had deigned to pretend you were a pretty good friend.
First conceived in 1999, Perimeter Check has appeared on a weekly basis in the Chronicle for almost 12 years.  As co-editor of the Chronicle, Bethany Dunbar acknowledged, “He’s always pretty easy to find on Mondays — he’s home writing his column.”
Mr. Lefebvre’s first book of columns, aptly titled, Perimeter Check, debuted in 2008.  This second collection, Perimeter Check II:  Tales from Vermont’s Upper Kingdom, gathers together more of these prize-winning episodes, as his column has won four first-place awards from the New England Newspaper and Press Association since 2004.
In offering an explanation for the title and content of these 1,200-word dispatches, Mr. Lefebvre states in the introduction, “No one is sure what he will find by picking at the edges.  But it is at the edges where I have found a life. Small truths sometimes grow into a larger one, and I would like to believe the columns in this collection are keepers of little truths.”
Edges, as ecologists know, are places rich in biological activity; one of my favorite poets, a psychologist by training, asserts that, “Truth appears only at the borders,” and once, seated with a group around a campfire in a wilderness area in Arizona, I watched a coyote skirt our circle, trotting the perimeter where the flickering light of our campfire met the deep blue shadows.  In this manner, Mr. Lefebvre is like a literate coyote, whose beat is the place where two zones converge.
His column of November 21, 2007, takes for its beginning the phenomenon of in-between seasons, “when one season is not quite over and another flirts with beginning.”  His sentences are so unpretentiously smart and beautiful: “Dwellers of the Upper and Lower Kingdom alike will undoubtedly agree that when it comes to the space between winter and fall, all of us are living between a hope and a fantasy — etched indelibly in those lines where the snug hat meets the creases in the brow:  Maybe I’ve got enough wood to last the winter; maybe it’s my year to get that ten-pointer.”
His columns relate stories that are scrounged, befitting of a coyote’s luck and cunning, from his rambles around the state’s least populated counties.  As in his column from October 17, 2007, which describes his willingness to “make do with whatever is at hand.  From wearing a dead man’s clothes to picking up discarded wooden guardrails and splitting them lengthwise to use as bridge planks….” He calls it “back road conservation,” this act of browsing and selecting from the discards and blow-aways of the byways.
It seems this same kind of beachcombing ethic directs the way his column accrues: It can begin with a letter from the State Police about his reported stolen guns.  Or it might start out as a note to self:  “Never trust a car that has sat for two months in the winter without being driven.”  Sometimes a simple change in the length of daylight kicks off a riff that leads to a review of Chief’s horseradish and closes down with a roofing job finished in the chilly rain.
In My Antonia, a classic novel by Willa Cather, the narrator, speaking from the early twentieth century, tells us of his college studies, learning, ‘Primus ego in patriam mecum…deducam Musas means “for I shall be the first, if I live, to bring the Muse into my country.”  He goes on to explain how his professor clarifies that the word “patria” didn’t mean nation, “but the little rural neighborhood on the Mincio where the poet was born.”
This was not a boast, but a hope, at once bold and devoutly humble, that he might bring the Muse (but lately come to Italy from her cloudy Grecian mountains), not to the capital, the palatia Romana, but to his own little “country,” to his father’s fields, “sloping down to the river and to the old beech trees with broken tops.”
When Mr. Lefebvre writes from his little rural neighborhood, telling us of the Great Piano Shootout at Mad Brook, recounting past basketball games as he waits for a truck loaded with firewood to find his driveway, or making another escape to camp, it seems there is a carefully meted out, lonely-proud howl rising out of these pages.
Masters of narrative say there are only two fundamental stories:  A man goes on a journey and a stranger comes to town. Somehow, each week, Paul Lefebvre finds a fusion of those archetypes, sending his readers a letter from a place where the dirt road meets the main road, “between church and religion; between marriage and love; and even between hill and town,” as he says in a column titled, “A People of In-Between.”
In this manner, simultaneously bold and devoutly humble, bent over his computer in Newark, Vermont, on most every Monday, Mr. Lefebvre escorts the Muse as he stands with one paw inside, one paw outside, straddling the perimeter, the rogue poet-King of the Upper Kingdom.
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