Spring along the Adirondack Coast tempts us with plenty of enticing seasonal flavors, but a personal favorite is the sweet tart medley of local maple syrup and homegrown rhubarb. Although we’re still a little shy of rhubarb time, the maple syrup is standing by, and my imagination is conjuring up this springtime staple. It’s as perfectly paired with a steaming cup of morning tea or coffee as with grilled protein and a spring mixed green salad.
Rosslyn Rhubarb Time (Photo: Geo Davis)
The images in today’s post, rhubarb photos that I posted on Instagram back in 2021, were inspired when Pam thrust a healthy handful of rhubarb stems into my grateful paw one morning. They’re a pinch more poignant now because our rhubarb crowns were accidentally rolled under last spring and we haven’t yet propagated a new generation.
Now that I’ve dangled the palate puckering temptation of rhubarb sautéed in maple syrup I’m going to ask your forbearance as I take a brief detour. I’ll get back to the super simple recipe in a moment.
But first an amuse-gueule: rhubarb haiku.
Rosslyn Rhubarb Time (Photo: Geo Davis)
Rhubarb Haiku
Still chill, spring soil parts.
Green, red, unclenching, stalking,
sweet tart rhubarb.
When spring’s still inhospitable weather and clammy soil don’t seem to suggest this potent plant coming forth, just then, it does. Courageous and colorful. A fist unfurling from the earth, stretching out into impossibly lush, almost tropical, foliage. It is rhubarb time again.
Perhaps this tangle of tartness and sweetness, cool climate growth and tropical semblance, is the allure of rhubarb time.
Rosslyn Rhubarb Time (Photo: Geo Davis)Rosslyn Rhubarb Time (Photo: Geo Davis)
Rosslyn Rhubarb Time
Rhubarb was one of my first forays into homegrown edibles back in 2007. I transplanted several crowns from my parent’s Rock Harbor property. We did not yet own the acreage west of the barns, so I hadn’t even begun to conceive of the gardens and orchard that we’ve been fortunate to develop since acquiring the first portion of our backland from Greystone in 2008/9.
I propagated the transplanted rhubarb crowns directly to the south of the carriage barn within the stone foundation of a long gone lean-to addition to the barn that may have at one point housed animals judging from the fertile soil. Combined with sunlight and heat reflected off of the carriage barn’s southern facade, this proved a productive microclimate for rhubarb (and asparagus) in those early years.
When fortune cast her benevolent gaze upon us, allowing us to add +/-28 acres to Rosslyn, I transplanted the rhubarb (and the asparagus) to a new location about 100 feet west of the carriage barn, where the plants would benefit from plenty of sunlight. These hardy perennials served as reliable forerunners for today’s productive vegetable and fruit gardens.
Their propagation served another symbolic, if sentimental, importance to me. Both — Rosslyn’s rhubarb and Rosslyn’s asparagus — were transplanted from existing beds that my mother had previously transplanted from our childhood home (see “Homeport in Wadhams, NY”) to Rock Harbor a couple of decades prior. A continuity reaching back to childhood, a lineage of homes, and a meaningful association with my mother, the self taught gardener who exposed me as a boy to the uniquely fulfilling practice of germinating, propagating, cultivating, harvesting, preparing, and sharing homegrown food. A perennial interconnectedness.
Rock Harbor Rhubarb Time
Turning back the clock a dozen years to May 31, 2011 I posted about harvesting Rock Harbor rhubarb some 5-6 years prior. (If lost in the math, the following refers to the time when Susan and I were contemplating the still-unlikely possibility of moving from New York City to the North Country. Rosslyn was still more playful pipedream than reality.)
We walked down the road from the tennis court and stopped off at my parents’ house, still closed up for the winter. It would be several weeks before my parents arrived in Rock Harbor for the summer, and by then the asparagus would have gone to seed, so we picked enough for dinner and enough extra to bring back to the city for another meal.
I also picked a fistful of rhubarb to sauté with maple syrup for dessert. Susan disliked rhubarb, but I loved the lip puckering tartness. The taste transports me instantly to The Farm. (Source: The Farm)
Rock Harbor Rhubarb (Source: Geo Davis)
Much as our Rock Harbor rhubarb bridged time and place, Rosslyn’s rhubarb had become a seasonal reconnection bridge to a timeless tapestry of family, gardening, meals shared, and home oases.
Before I slide further down the slippery slope of sentimentality, I’d better get on with that recipe!
Maple Rhubarb Recipe
This maple rhubarb recipe may well be the simplest how-to you’ve ever come across. Sometimes the best recipes are the simplest!
Trim rhubarb ends to remove any leaf remnants (which are toxic to humans due to high levels of oxalic acid.)
Trim rhubarb ends to remove earthy bits.
Chop rhubarb into 1/2″ to 3/4″ pieces.
Fill a saucepan about halfway full of chopped rhubarb, and place on low heat.
Add a cup of water and a teaspoon of vanilla.
Cover the sauce pan and simmer for 15 minutes, stirring periodically to ensure even sautéing.
Once the rhubarb has begun to break down evenly, add a dash of cinnamon
Add maple syrup to taste.
Top this quick dessert/snack with whipped cream, vanilla ice cream, or a dollop of vanilla yoghurt. (If you’re dairy free, as I am, substitute your preferred alternative!)
The sweet tart flavor profile of sautéed maple rhubarb is so unique, so scintillating, so memorable that my taste buds are tingling as I write these words. Enjoy.
In my bride’s family birthdays are celebrated with endurance and fanfare. In fact, my bride’s late father preferred to think of birthdays as commemorative seasons, not days at all. Celebrating for anything less than a week was simply barbaric in his estimation.
Corn Cake Batter
So, over the last decade I’ve become accustomed to multiple birthday celebrations, abundant gift-giving and the family birthday dinner: game hens, artichokes and mashed potatoes or rice followed by birthday cake. For my vegetarian bride swordfish is substituted for a game hen, but few other exceptions are made.
Tradition is tradition. Comfort food is comfort food. These are the givens.
Most families enjoy revered meals steeped in nostalgia and embraced generation after generation. And yet my family’s most traditional comfort food, corn cakes and turkey gravy, provokes looks of bewilderment and lame excuses when I invite friends to experience meal.
Care to Try Corn Cakes and Turkey Gravy?
Conjured out of Thanksgiving and Christmas leftovers, neither holiday is complete without the lumpy griddle fried cakes and rich turkey gravy, thick with chunks of leftover turkey. Eaten for lunch or dinner, the meal is filling, tasty and a delightful flashback to the autumns and winters of my childhood.
Corn Cakes
Over the years I have introduced countless friends to this quirky combination of ingredients. And though most have been polite, few have devoured the meal or asked for the family recipe.
My bride’s recent phone call with her mother offers the typical response to my corn cake and turkey gravy invitations.
“Why don’t you join us for corn cakes and turkey gravy on Sunday,” Susan asked.
“Corn cakes and turkey gravy?”
“You’ve never had them? Oh, it’s a tradition in George’s family…” Susan went on to explain the dish.
“Hmmm, that sounds interesting, but…” It was clear to me that my mother-in-law’s interesting was akin to, “Are there any other options?”
So we ate steak with leftover mashed potatoes and green beans. Delicious.
Craving Corn Cakes…
Turkey Gravy
But on Monday evening I fired up the griddle and prepared corn cakes and turkey gravy. Leftover mashed potatoes, green beans and Brussels sprouts rounded out the meal (as did a mind massaging Chardonnay from South Africa.)
I got carried away and prepared enough corn cakes and turkey gravy to eat all week! Now, who can I invite over for the leftover-leftovers so that they can politely demur when I offer then seconds?
I suspect there’s a forgotten history explaining my family’s post-Thanksgiving and post-Christmas culinary comfort food, but I’ve been unable to ferret it out. Yet.
Time to Interview Mom
I’m pretty certain that the tradition comes from my mother’s family, so I’ll pose a few questions to the world’s best (and my favorite) mom, Melissa Davis.
Me: Is it fair to say that I inherited my appetite for corn cakes and turkey gravy from your side of the family?
Mom: Yes, I don’t know anyone else who ate them other than the Duvalls, so from my side via my mother.
Me: Do you know anything about the origins of corn cakes and turkey gravy?
Mom: No, just that my grandmother Lela made them. Or I thought she did. I suppose my mom could have made them up!
Me: Did you eat corn cakes and turkey gravy as a child or did the tradition start later?
Corn Cakes and Turkey Gravy
Mom: We always ate them the same way we Davises now do, following a turkey dinner (which for us Wellers was the traditional Thanksgiving and Christmas meal). We would also have them if we had a random turkey meal at other times of the year. I’m trying to remember if my Aunt Margaret Liggett (my granny’s sister who lived near us in Colorado) also made them. I vaguely think so which would increase the chances that they came from that side of the family. They were daughters of a union of a Swedish American and an Irish American.
Me: Did you actually enjoy corn cakes and turkey gravy the first few times you ate it?
Mom: I can’t remember the first time I had them, but I loved the meal always. For a while when I was little, I preferred them to the first meal of the turkey. I loved the holidays because I knew the corn cakes and turkey gravy inevitably would follow!
Me: When you serve corn cakes and turkey gravy to people for the first time, how do they tend to react?
Mom: Politely but without enthusiasm! Our guests on Friday were complimentary, but only one person ate seconds. Do you remember when I fed them to your college Christmas visitors? They were all polite, but I don’t remember anyone gobbling them up. I can hardly think of anyone to whom we introduced this fabulous meal who genuinely liked them!
Me: What do you consider the best accompaniment for corn cakes and turkey gravy?
Mom: Browned leftover mashed potatoes or hash browns (so you can add the gravy to them) and a green salad. If you like cranberry, it’s a good place to get rid of the leftover cranberry sauce. I don’t especially!
Me: Can you offer any special tips on how to prepare corn cakes and turkey gravy?
Mom: I have always just used the basic Joy of Cooking pancake recipe, cut back on the sugar amount and added canned corn. I’ve doubled it without problem and added a second can of corn. I use any leftover gravy from the main meal and make new gravy from the first round of “stocktaking” off the turkey bones. I also add lots of leftover meat if it is for our family. I don’t always make it as meaty for guests since the meat seems to be off-putting to some.
My mother’s brother, Uncle Herman, admitted an enduring fondness for corn cakes and turkey gravy while confirming the maternal family link, and he offered a possible clue.
I wonder if they were a Pennsylvania Dutch recipe Mom discovered. ~ Herman Weller
Perhaps. Or Swedish-Irish. Or just a creative way to get kids to eat leftovers?
It worked. I still love them! What’s your family’s comfort food?
Corn cakes and turkey gravy aren't the most elegant victuals ever laid upon a dining table, but they're deli http://t.co/iAALP5mR
Poppies aplenty summer through early autumn (Source: Geo Davis)
Poppies aplenty! A gardener can never grow too many poppies in my estimation. Biased? Yes, unabashedly biased when it comes to Papavers, I’m afraid. (The oriental poppies that we plant at Rosslyn are in the genus Papaver in the subfamily Papaveroideae of the family Papaveraceae. No worries, you won’t be quizzed later.)
So smitten am I with this almost impossibly perfect pairing of sensuous and carefree, delicate and robust, that I’ve gathered a passel of poppy poems as a rainy day elixir. Feel free to avail yourself of this sure cure if you’re stuck in the doldrums and need a boost. I can’t guarantee that the poems pack the euphoric punch of actual poppies, but they just might remind your heart and soul how to conjure these beguiling beauties out of your own memory.
If I could grow poppies year round, I would! (Source: Geo Davis)
Bloom Where You’re Planted
The advice, “bloom where you are planted,” apparently owes it’s pithy endurance to the Bishop of Geneva, Saint Francis de Sales (1567-1622), but my first point of reference was different. It was 1999, and I had just relocated from Santa Fe, New Mexico to Paris, France. I received a book in my workplace welcome packet that had been compiled by the FACCP Franco-American Community Center of Paris. The title was Bloom Where You’re Planted: Tips for Living and Thriving in Paris.
Although I grew up admiring poppies that my mother grew in the Adirondack’s Champlain Valley, there’s no doubt that visits to Normandy where poppies still dot green fields, and teaching John McCrae’s “In Flanders Fields” to my students at the American School of Paris deepened my connection to Papavers. Somehow the helpful manual provided to me in my late twenties became connected with the poppies in my memory and in my gardens.
This morning’s poppies and the lovely reminder from Saint Francis de Sales and the good folks at the FACCP Franco-American Community Center of Paris coalesced for a fleeting moment, and the first semblance of a new poppy poem unfurled its still wrinkled petals. Not sure where it’s headed, if anywhere, but here’s where it stands today.
Bloom where you’re planted, where the wind blows you, where you are needed. Bloom when conditions are perfect and when they are not. Bloom.
Might need to let it rest a bit, and possibly, hopefully resurface anon. After all, I surround myself with poppies aplenty, so perhaps this poetry seed will germinate some day in the future, a reminder that preservation by neglect applies not just to orphaned buildings and blog posts, but also poems.
Today’s dispatch delves into a puzzling enigma, maybe even a genuine mystery.
Shortly after purchasing Rosslyn in the summer of 2006 friends were touring the house with us when their young son blasted through a doorway.
“Do you think this house is haunted?!”
His optimism was palpable. He related in quick chronicle what he’d discovered during his solo inspection of the house. On the third floor, he assured us, there are hidden doors and secret passageways. Mystery and intrigue percolated in his proud delivery.
He was correct. Small doors and mystery access panels in the backs of cupboards and closets opened into dark attic soffits. However, years of renovation would eventually reveal that these were simply entrances to otherwise inaccessible passages (ie. space behind the point where rafters met knee walls) that permitted service to electric, plumbing, etc. Practical. But slim on mystery.
Shortly thereafter, multiple contractors assured us that the house was probably haunted. Two centuries of living (and, inevitably, at least some “expiring”) within these walls *must* have resulted in a few lingering spirits. Certainly Rosslyn was haunted, right? Right?! Again, a blend of dread and intrigue. But over the yearslong renovation, they gradually abandoned their soothsaying as uneventful days (and not a few evenings) dispelled their early convictions. Mystery anticipated; mystery dispelled.
The Warmth of Your House
Verum Archaeologiam
Across the sprawling inquiry I call Rosslyn Redux, I’ve gathered many posts into a category I call “Archeology of Home”. It’s a moniker I usually use in a quasi metaphorical sense, but not always. In fact, there have been plenty of instances in which we’ve quite literally disinterred and studied artifacts that have informed our understanding (and appreciation) of home.
Sometimes the excavation is figurative, exposing ideas and memories and stories and memories that, when scrutinized reveal what underpins my/our ideas of homeness. In either case, analysis (and sometimes creative exploration) or both real relics and those that exist in the realm of concept have deepened and affirmed our relationship with home.
Today I have an intriguing outlier to share. It’s archeology of home in the layered and often complex sense. And it invites inclusion in my intermittent what-makes-a-house-a-home series: does mystery make a house a home?
Ute Youth, Uintah Valley, Utah (Photo: John K. Hillers, Powell Expedition, 1871-1875)
Concealed Artifacts Considered
While drafting a post that revisits my enduring curiosity about (and reference to) The Farm I asked Katie to remove an old black and white photograph from its frame in order to scan it. Here’s our slightly abbreviated dialogue.
Katie, I’m hoping… you might be able to help me with the photo that I’d like to accompany this post. If you look at the B&W snapshot attached you’ll see a photo of me as a small tyke with an older man. I’m hoping that it may be easy to remove the image and scan it at high definition… Thanks!
I scanned this photo for you. Did you know there were some other photos behind this one in the frame? I scanned everything in case you were interested…
Oh, what a find. You have no idea how moved and intrigued I am by your totally unanticipated discovery. I received this photo from my parents when they were preparing to downsize their Rock Harbor home a year or two before selling it. I imagine they must have repurposed an older frame that contained the images and information you’ve come across. The man in the photo in “Upper Volta” (newly independent from France as of 1960 and then renamed Burkina Faso in 1984) is my uncle Herman Gail Weller, my mother‘s older brother. He was in the U.S. Peace Corps, living in Africa (Ghana and later Liberia, if I recall correctly) in the 1960s when this photograph was apparently taken. No idea about the Ute news clipping and photo. I’ll reach out to my uncle to see what I can find out. What a fascinating layering of history. And what a wild surprise! Thank you, Katie.
I’ll return to the “older man” (aka OMC) when I publish the relevant post soon. But that youthful photograph of my uncle offered a subject for my inquiry.
Uncle Herman in Bobo-Dioulasso, Upper Volta (Burkina Faso), 1967
Herman in Burkina Faso
I sent out an email (with scans of the photos, etc.) to my mother and my uncle. Circuitously the following message made its way back to me.
“The pictures came through on the email from George that you forwarded to me. The pictures were huge compared to the font size of the text. So I had to scroll back and forth and up and down. ….. Of course that was me in Bobo-Djou… in a market. The blankets were called “Mali blankets,” at least by expatriots. Most expatriots that I met in West Africa prized Mali blankets. My beard was nicer in red (then) than in white (now).
The width of each strip in a Mali blanket was the width that a typical loom created. When I traveled to Bamako, Mali one Christmastime, I saw weavers sitting on the sidewalks along the modern paved highway, each with his loom cords tied to the base of a modern street light.
Ah-ha! A few more details in Herman’s notes on reverse of photo.
Caption from Uncle Herman’s Photo in Bobo-Dioulasso, Upper Volta (Burkina Faso)
Another uncanny aside: that Mali blanket hung in my bedroom as a tapestry during my teens. Also a sword from Herman’s West Africa years!
Ute Youth
And what about the handsome fellow with his dog appearing earlier this post?
So far no recollection from Herman to share on this one. Did one of my parents place it in the frame? Someone else. When? Why? The mystery endures.
Let’s take a look at the other artifacts, which at least explain something about the Ute youth, if not its provenance.
Citation for Photograph of Ute Youth by John K. Hillers
This documentation from the Smithsonian Office of Anthropology, Bureau of American Ethnology, Collection is affixed to the back of the photo of the Ute youth. If too blurry for you, here’s the gist.
Neg. No. 1537
Tribe: Ute
“Indian boy and his dog.”
Uintah Valley, eastern slope of the Wasateh Mts., Utah.
By John K. Hillers, Powell Expedition, 1871-1875.
I’m unclear how the Ute youth photo with documentation (above) happen to be located together with the article (below), but the caption (also below) suggests that the image may have been used to illustrate the compelling news clipping.
Ute Caption and Article
Also resonating subtly but pleasantly, the recollection that my maternal grandmother (mother to my mother and Herman) often mailed us news clippings that struck her as individually relevant and appealing. Perhaps she came across and clipped the article, and then sent it to my mother or my uncle?
Perhaps the trappings of home and the lives they echo, albeit sometimes a faintly fading echo, are among the mysteries that make a house a home?
Afterward
The lead image on this post is a dedication, a mystery dedication, that adorns a cardboard panel at the back of the frame. For whom? From whom? Well, we know their name, but who are/were they? I have absolutely no idea, but the sentiment is uncannily appropriate for the current context.
“May the warmth of your house be equal to that of your heart.” — Gerry and Marc Gurvitch
Appropriate, for sure. And perhaps it’s worth gathering well wishes wherever and whenever we come across them.
At the root of Rosslyn Redux is a question. What makes a house a home?
Simple question. Less simple answer. More precisely, the answers to what makes a house a home are diverse and possibly even evolving — slowly, perpetually — as we live our lives. What defines “homeness” as a child likely differs as a young, independent adult, nesting for the first time. And our first autonomous forays into homemaking likely morph as we live through our twenties and into subsequent decades, family and lifestyle changes, etc.
Let’s start with a playful poem by Edgar Albert Guest.
Ye’ve got t’ sing an’ dance fer years, ye’ve got t’ romp an’ play,
An’ learn t’ love the things ye have by usin’ ’em each day;
[…]
Ye’ve got t’ love each brick an’ stone from cellar up t’ dome:
It takes a heap o’ livin’ in a house t’ make it home.
— Edgar Albert Guest, “Home” (Source: Poetry Foundation)
If you haven’t read this Edgar Albert Guest poem, I recommend it. And I strongly suggest you read it out loud!
I start with Guest’s insights because they’re thoughtful despite the playful affect. They capture both the breadth and the subjectivity of answering the question, what makes a house a home? And they hint at the protean nature of this inquiry.
Love Makes a House a Home (Photo: Geo Davis)
An Evolving Recipe
Just when I think I’ve narrowed down a reliable recipe for what makes a house a home, I question it. Whether catalyzed by a conversation with another homemaker, exposure to an especially compelling or innovative home, or a eureka moment totally unrelated to “homeness” (recently, sailboat design of 35-50′ sloops), my reliable recipe is suddenly less reliable. It needs a few tweaks. I remove ingredients less essential than previously believed, and I introduce new ingredients. A teaspoon of this, an ounce of that. Season to taste…
The mercurial nature of “homeness” is not really that surprising given the subjectivity of our residential tastes, needs, means, ambitions, and limitations. The rise of a thriving van life culture in recent years offers a healthy reminder of how little is actually needed for many individuals to feel at home. And yet, the proliferation of van life blogs and social media streams celebrate the individuality and subjectivity shaping perspectives on what makes a house a home. Overlanding in a tricked out van, living aboard a wind and water washed boat, or nesting on an anchored spot of terra firma, it turns out that what makes a house a home is profoundly personal.
One of the joys of homeownership lies in expressing ourselves through our surroundings… Most of us can hardly wait to put our personal stamp on our living spaces. It is, after all, part of the process of turning a house into a home. (New England Home)
The process of transforming a house into a home — fixed or mobile — inevitably encounters elements and conditions that shape the nesting process. In other words, our will and whim are only part of the equation.
Once upon a time
this handsome old house
became our new home,
and along with it
almost two hundred
years of backstory,
lives, styles, and lifestyles…
Snipped from my short poem about repurposing Rosslyn into our home, I’m acknowledging the property’s history and preexisting conditions. It’s a nod to inputs outside of Susan and my personal needs and desires. Just as these inherited inputs can be hurdles or challenges, often they introduce character and richness, add depth and texture, and even invest an aesthetic or programmatic cohesion that might otherwise be lacking.
I’ve frequently joked that no detail of Rosslyn’s rehabilitation escaped our fingerprints, [but] much attention was paid throughout to preserving the buildings’ unique heritage. My bride and I were far less preoccupied with our own personal stamp than we were with finding Rosslyn’s personal stamp, her DNA, and reawakening it to guide our renovation. (Reawakening Rosslyn)
I suspect that there’s often an even more abstract but profoundly important force at work in making a house a home. Intersecting our needs and appetites and the preexisting conditions, there exists an ineffable consciousness, even a conviction, that we feel at home. Can it be a sanctuary where we feel safe, happy, calm, nourished, revitalized, and creative? Can the house, as our home, become an oasis nurturing the sort of life that is indispensable to our wellbeing?
House of Dreams: Gaston Bachelard (Source: The Poetics of Space)
I understand that this wonderful old, living and breathing home provides for us in innumerable ways every day. I know that Rosslyn is a house of dreams and daydreamers. And for this I am extremely grateful. (House of Dreams)
This consciousness or conviction is totally subjective and deeply personal. Clearly articulating it can prove elusive. But we recognize the feeling when we’re fortunate enough to come across it. Sometimes the pull can be so powerful that we yield despite logical and practical considerations, and even despite obvious counterindications.
We had joked about how much time and money it would take to make Rosslyn habitable, categorically dismissing it as an investment. And yet it clearly had captured our hearts. If it were our home and not a short term investment, then maybe the criteria were different. Maybe the potential was different. Maybe the risk was different. (We Could Live at Rosslyn)
Many of us have found ourselves in this push-pull between the abiding rules and paradigms we use to navigate most of our life’s decisions and the sometimes conflicting passion we feel for a potential home. Over the last decade and a half that I’ve been trying to understand “homeness” and the curious exceptions that some of us are willing to make when it comes to our homes, I’ve picked the brains of family, friends, and total strangers when opportunities arose. And sometimes when they didn’t! I’ve been struck as much by the overlaps as the distinctions. There do seem to be some almost universal notions of what makes a house a home, and yet a beautiful bounty of unique attributes are at least as important to the individuals creating (and sometimes recreating) their homes.
Personal Mementos Make a House a Home (Photo: Geo Davis)
Vox Populi, An Introduction
Rather than pretending I’ve distilled the perfect formula, I’m going to showcase a relatively random but recent collection of perspectives and opinions gathered from family, close friends, and several contributors to our current projects. That’s right, I’m going to sidestep the tempting trap of defining what makes a house a home in lieu of broadening and diversifying consideration. Or, put differently, I’ll bypass my own bias by crowdsourcing the question.
I reached out a few days ago to a couple people with whom I’ve discussed this topic before. I asked them all some version of the following.
I have a quick challenge-type-question for you. I’m drafting a blog post about “homeness”, and I’ve reached out to a handful of people that I think might offer interesting perspectives. If you have 30 seconds, I’d love to include your thoughts. If not, no worries. No deep thinking. No fancy answers. No pressure. Just a spontaneous, off-the-cuff, candid response to the question: what does it mean to make a house a home? In other words, what transforms a house into a home?
I was so enthralled with the first few responses that I decided to postpone the post in order to solicit even more perspectives. What follows is a fascinating array of responses, starting with several collaborators on Rosslyn’s icehouse project (Tiho, architecture; Hroth and Eric, construction/carpentry; and Pam, project/property management) and Mike, a carpenter who works for us in Santa Fe (as does Hroth, although we’ve been fortunate to have his expertise at Rosslyn as well since July.)
Tiho Dimitrov: What makes a house a home? For me, it’s my books, my guitars, and the odd pieces of art that I own. It’s the art and the books that bring a sense of me or a sense of my spirit. Combine that with the smell of freshly brewed coffee, and you have a home. It’s the imperfections of a place that make it perfect.
Hroth Ottosen: Off the top of my head the difference between a house and a home would be family. But that doesn’t apply to my life. My circumstances are extremely exceptional. I consider my house in Mora, New Mexico my home because I built it from scratch without much help from anybody, and to my own specifications and desires. Not many people can say that. (Later…) While making dinner I thought about what makes a house a home. A name doesn’t hurt. I consider Rosslyn my home right now!
Eric Crowningshield: Home is the place where I feel proud and comfortable being! I joke around saying we are the dream makers because we try to take homeowners’ dreams and turn them into a reality!
Pamuela Murphy: A house is a house, but a home is where the love is. It takes love, hard work, and teamwork to make a house a home.
Mike Hall: To me it it means cozy and comfortable and someone to share that with. This popped into my head because my wife and I are at the Bosque del Apache celebrating our 31 anniversary!
Homegrown Food Makes a House a Home (Photo: Geo Davis)
My next pollees are family members, starting with my beautiful bride (Susan), then on to my parents (Melissa and Gordon), one of my nieces (Frances), one of my nephews (Christoph), and my cousin (Lucy).
Susan Bacot-Davis: It’s easy to see Rosslyn as my home. We’ve invested sixteen years of our life reimagining, renovating, and sharing her. But I learned in Côte d’Ivoire where I lived in 1989 and 1990 that home can be a place very foreign to me. I came to my village wondering how I would ever be comfortable there. I departed almost a year later wondering how I could ever bear to leave. It was my neighbors, my friends and colleagues, my community, and my sense of belonging within that community, not the concrete hut within which I dwelled, that embraced me and made me feel safe and nurtured.
Melissa Davis: I’d say home needs comfortable spaces for you to do the things that you like to do. That means you need to know what those things are! So I need a place to sit and write, draw, type, pay bills, and address Christmas cards. And I need a place for the related “stuff”. And homeness means music in the places I do my activities as well as space to actually do the activities (room for yoga mat, comfortable chair/bed to read paper and books, do crossword puzzles, and drink coffee). House becomes home with enough outdoor space to grow something to eat! Eventually a home has memories throughout it which solidifies its homeness, and that requires people who are important to us.
Gordon Davis: Takes a heap a livin’ to make a house a home. And snacks.
Frances Davis: What makes a house a home in my mind is the few mementos that hold special memories or are sentimental for any reason, which we bring with us to each new place we live in. For example, random mugs collected over the years, or certain books, or even a sweater that we wore after high school grad. Whatever they are, these items carry significance in our hearts and bring our past into whatever new building we’re in to make it our home.
Christoph Aigner: Home is a place that draws people in, a space that makes one feel comfortable and at peace. It is familiar to those who call it home, and it reflects a person’s or family’s values and the life they live.
Lucy Haynes: Bringing the outdoors in – branches, plants. Living things. Also – antiques and pieces that have been used. And enjoyed.
On to friends, diverse personalities with whom we’ve fortunately become acquainted across the years.
Kevin Raines: The word home has it’s roots in the old English word ‘ham’ and means a place where souls are gathered. I like that idea because as a house is lived in it grows rich in memories that welcome and enrich the inhabitants and guests who frequent the structure. Through the gathering of souls space becomes an extension of self, past, present, and into the future.
Lisa Fisher: Home is not the house where you live but your relationship to it. If within the space you feel comfortable, yourself. To be “at home” is to have a sense of belonging — to a place, to the world you have made within it. I think it was Heidegger who came up with the notion of individual worlds, meaning the stuff we surround ourselves with, including ideas and beliefs, but also our physical realm. Homenesss speaks to the human element of habitation: the inhabiting of a space.
Alexander Davit: The stories that are created while people are living there.
Miriam Klipper: House is the structure. A home is all the things you’ve put in it — including memories. By the way, memories include selecting every painting, carpet (remember our visit in Turkey?), crafting the most beautiful house, every perfect detail…
Amy Guglielmo: What makes a house a home? For me it’s comfort and color! Soft natural textures, local art and touches. Softness, coziness, calmness. Always views for us. Aspirational space to dream. And accessibility to community. Beach, pool, recreation. Close proximity to nature. We’re wrapping up designing our new home in Ixtapa, Mexico, and we’re only missing books and games at this point. But I think we nailed the rest!
Roger Newton: Love.
Jennifer Isaacson: Surrounding yourself with things/objects that hold a history and meaning to you.
Lee Maxey: What transforms a house into a home… One word “life”. Living things, people, animals, plants, and any items that support or enhance life. Cooking implements, cozy blankets, music, well read books on a bookshelf, and signs of soul. Today is the 2nd anniversary of my mom’s passing. I have just spent a couple hours going through photos and crying and writing in my journal. One of the things I miss most are the smells. Our smells make a house our home.
Denise Wilson Davis: For me, simply, what makes a house a home is the feeling that love resides there. That, as an owner you’ve put love into it… from the care and fixing to the furnishings and found objects that bring joy or remembrance. Home is an intimacy — a reflection of your heart and creative soul — that welcomes guests and makes them comfortable.
David Howson: This is similar to the saying, “at home”. When one feels “at home”, they mean they feel a certain kind of comfort and peace. One wouldn’t say, I feel “at house”. I fondly remember the first night I stayed at Rosslyn. While it wasn’t my house, you and Susan certainly made me feel “at home”.
Ana June: I think of home as curated and designed. It is a space where your heart is visible in your environment.
I’m profoundly grateful to everyone who offered their quick thoughts. And I was warmly surprised by how many wanted to expand the exchange into a lengthier conversation. So many intriguing notions of “homeness” and personal perspectives on what uniquely distinguish their own living space. Often relationships, shared experiences, and love wove their way into our discussions. I’ve abbreviated this post, and yet I realize that I’d like to dive in a little deeper with many of those I’ve quoted here. With luck I’ll revisit again in the near future.
Pets Make a House a Home: Griffin, April 16, 2012 (Photo: Geo Davis)
Until then, I’d like to weave in one additional thread that I personally consider an indispensable component of our home. Pets.
While Susan is the beating heart around which our small nuclear family orbits, we’ve never been without a dog for more than a few months. For us family and home are intrinsically connected with Tasha, Griffin, and Carley. Although Tasha and Griffin are chasing balls in the Elysian Fields, they remain with us, surfacing every day in our memories and conversations. They’ve left their imprints in the ways we live and play and entertain and in the way that we raise our current Labrador Retriever, Carley. On occasions when our little threesome is temporarily divided, for example this past October while I was away in California while Susan and Carley were in Santa Fe for a couple of weeks, our home felt incomplete. Despite good adventures with good people, Susan and I both acknowledged the voids we were feeling. Our home was temporarily divided. Returning to my bride and my dog instantly made me feel complete once again. So, for us, an important part of what makes a house a home is all of the beings — human and not-so-human (although our dogs differ on the distinction!) —that inhabit and visit our dwelling.
Yesterday I meditated a minute on bygone barns. Ancient farm buildings. Tempered by time, tempted by gravity, and sowbacked beneath the burdens of generations, these rugged utility structures retain (and sometimes gain) a minimalist elegance long after design and construction and use fade into history. My meditation was meandering and inconclusive. In part this was due to the wandering wonder these timeworn buildings inspire in me. And in part it was because my observations are still evolving and inconclusive. I’m not a barn expert, an agricultural architecture preservationist, or even a particularly astute student of barns and farms. But I am a barnophile.
a person with a fondness for structures used to house livestock, grain, etc.
an admirer and/or collector of agricultural outbuildings
Aside from the hubris I’ve just exercised in birthing this barnophile definition, I’m generally inclined to a humbler and less presumptuous relationship with the mostly agrarian artifacts we categorize as barns.
[As an unabashed barnophile with a] weakness for wabi-sabi, I’m especially keen on bygone barns.
By “bygone barns” I’m conjuring an entire class of rural farm and utility buildings belonging to an earlier time. Classic lines, practical design, form following function, wearing age and even obsolescence with pride,… I’m even smitten with buildings so dilapidated that they’ve been reduced to their skeletal essence by the forces of nature. Sunlight, moonlight, weather, wildlife, and vegetation permeate these carcasses. The sparse assembly of materials — beaten by the elements for more years than anyone alive can definitively claim to know — endure erect, monumental, lavishly adorned with forgotten functions and the patina of passing time. (Source: Bygone Barns)
Barn Vernacular (Source: Geo Davis)
But why do forgotten farm buildings enchant me? What reason lurks beneath the tidy text, what foundation for my unusual fascination with these vestiges of a simpler, more local, perhaps even a slower time? Katie Shepard, so very rarely off target, suggests this childhood reminiscence might play into my barn-centric attraction.
My parents, living and working in New York City, had purchased an 1840s farmhouse on 85 acres in Greenwich, New York five months after getting married. I was born less than two years later.
Although The Farm served primarily as a weekend getaway for the next five years, it dominates the geography of my earliest childhood. A stream of nostalgia gilded memories flow from this pastoral source: exploring the time-worn barns, absent livestock except for those conjured up by my energetic imagination and the swallows which darted in and out, building nests in the rafters, gliding like darts through dusty sunbeams; vegetable gardening with my mother; tending apple, pear and quince trees with my father; eating fresh rhubarb, strawberries and blackberries; discovering deer and raccoons and snakes and even a snapping turtle. (Source: The Farm)
As usual, Katie is right. Woven into the earliest tapestries of my childhood are fond associations with barns. This was undoubtedly further reinforced during our years at Homeport given the inordinate amount of time that my brother, sister and I occupied ourselves in the mysterious old barn complete with ballroom and servant’s quarters long since adapted to other uses. And in my grade school years my siblings and I memorized Dylan Thomas’s “Fern Hill” to recite as a birthday gift for my father. I wish I could take credit for this creative gift giving tradition, but it was my mother, Melissa Davis, who gently guided the three of us each winter to select a poem that would appeal to my father, and then to memorize it during our daily 45-60 minute commute to school each morning and and each evening. Three days after Christmas, on my father’s birthday, we would recite the poem together, and (with one notable exception that’s better reserved for another day) my father enjoyed the gift, leaning back, sometimes closing his eyes, and listening attentively. I think “Fern Hill” may have been the best received, and it became a go-to for family recitation over the years, hypnotically weaving itself into the ethos of our childhood the way a prayer might.
Boundaries of a Barnophile
There comes a time to focus the “philos”, or at least to try and narrow or delineate the subject of interest.
I’ve talked around my fascination with barns, barn architecture, barn construction, and barn aesthetics… But I haven’t outlined the tenets for my enduring intrigue, nor have I articulated exactly what I mean when I refer to a barn vernacular. It’s time to draft at least a preliminary look at my love of barns. […]
In the vernacular vocabulary of quintessentially North American architecture, the barn endures as a practical yet proud icon of rural living. […]
Although my fascination with barn vernacular isn’t limited to Yankee barns, it is my most consistent and encompassing vision.(Source: Toward a Barn Vernacular)
In other words, I’m inclined toward classic geometry, roofs steep enough to shed water and snow (with a particular fondness for 9:12 pitch), and unembellished details. And I will always favor bygone barns to new construction. The quality of workmanship and materials stands out, but so too does the story stretching across decades, even centuries.
I consider aging utility buildings — barns, boathouses, icehouses, sugarshacks, etc. — to be at least as intriguing as old houses. More sometimes. So many relics, unselfconscious, candid. Less penchant for concealing, fewer makeovers, more concurrently present years and lives. Sometimes it’s the old, banged up subjects and objects that look the best. Thank goodness for that! (Source: Horse Stall Haiku)
And what of other barn-like buildings, rural utility buildings designed and constructed after the same manner?
School Bus Stop Ahead (Photo: virtualDavis)
They appeal to me as well. In fact, the agricultural DNA isn’t essential to me at all. I suppose I’m somewhat “barn androgynous”, equally smitten with similarly origined buildings even if they’ve never seen a horse, cow, chicken, pig, or hay bale.
That said, it’s worth acknowledging that the architecture of New England barns, Yankee barns, and even — drifting a little further southeast — tobacco barns are especially appealing to me. And if it’s fair to assume that my affinity is at least partly nostalgia-driven, then it’s probably worth adding another influence the those sited above. Four year of boarding school in Old Deerfield, Massachusetts definitely instilled in me an appreciation for early colonial building, and there were a couple of barns that still loom proud in my memory.
Beyond Boundaries
Although I wish I could gather these strings and call it caput, I must further complicate the boundaries I’ve endeavored to delineate above.
While there’s something alluring about the volume and the efficiency of barns, the unpretentious posture with no attempt to conceal functions or mechanism, scale isn’t essential. The small corn crib above, for example, intoxicates my imagination nearly as much as the grand barn at the top of this post.
Baked into my identity as a barnophile, into this somewhat esoteric aesthetic and philosophical appetite, is a tendency to stretch my definition of barns to include other similar outbuildings.
While Rosslyn didn’t fit squarely into the vision of an old farm or a collection of dilapidated barns that I originally was hunting for, this stately home does have three remarkable outbuildings, all three of which lured me as much as the house. In fact, well before we completed our top-to-bottom rehabilitation of the home, we tackled the icehouse, boathouse, and carriage barn. All of them were on the brink. Actually much of the house was as well. But just as we committed to salvaging the home, returning it to its former grandeur, we likewise undertook laborious, challenging efforts to salve the icehouse, boathouse, and carriage barn. All buildings were dilapidated, but the icehouse and boathouse were both succumbing to the omnipresent challenges of weather and neglect.
I’ve posted plenty in the past about Rosslyn’s boathouse, the lakeside folly that beckoned to us from the beginning. For a whimsical mind like my own, smitten with boating adventures — real and imagined — becoming irreversibly enchanted with our small dock house protruding out into Lake Champlain was pretty much inevitable. Although its mission has always been tied to watery locomotion, it is for all practical purposes a sort of barn. A diminutive lakeside barn purpose-built for boating. A utility outbuilding conceived and specifically confected to serve the Kestrel just over a century and a quarter ago.
And Rosslyn’s icehouse, occupying much of my attention these last few months as we cartwheel through an ambitious rehabilitation and adaptive reuse project, is likewise a barn. We often refer to the carriage barn and icehouse, standing as they do side-by-side, as “the barns”. As a utility building designed to complement the architecture of the carriage barn and home, it was nevertheless first and foremost a utility building constructed to support the residents with year round cooling at a time when refrigeration did not yet exist. It was an ice barn!
And so you see perhaps the elasticity of my identity as a barnophile. A barn might not immediately appear to be a barn. But the rudiments, the purpose, and likely the longevity have profited from the heritage of barn building. And this, my friends strikes me as the right place to wrap up. If this this post was intended as a more intimate look at the romance of bygone barns, those that have endured a looong time and even those no longer viable, then I’ve covered my bases. And too, I’ve revisited my original hope of locating an old barn to convert into a home, a hope that has not altogether faded away.
In fact, Susan and I have been for a few years brainstorming a barn-inspired for the future, our future, that just might begin to emerge in the years ahead. Stay tuned…
In the spring and summer of 2006, when Susan and I took a leap of faith and made the decision to pursue Rosslyn as our future home, it was apparent to both of us that we were biting off considerably more than we could chew.
Dream big. Dream a little bigger. And then leap!
From leaping capriciously, optimistically, idealistically, and oh-so romantically into this Rosslyn adventure 16 years ago to an eventual and inevitable untethering at some point in the future, Susan and I have courted an unconventional but rewarding existence. In a sense we’ve never stopped leaping.
Now with 20/20 hindsight (and a decade and a half of years of lessons learned and humility earned) I’m comfortable admitting that we got in over our heads. Waaayyy over our heads. Our skillset and our checkbook were too lean; our romantic outlook and our self confidence were too stout. Needless to say, that’s a fraught combination. But I wouldn’t change a single thing. Well, maybe a few things…
I envisioned Rosslyn’s rehabilitation as an adventure, a risky adventure, but an adventure well worth the risk (and the 100% investment it would take, not the least of which was our undivided time and energy.) Rosslyn would become our love affair, our work and play, our vocation and avocation, and — despite a resolute decision early in our relationship to embrace unclehood and aunthood while remaining childfree — Rosslyn would become our surrogate child.
In due course, heck, practically from day one, Rosslyn would eclipse literally everything else in our lives. That’s truly not an exaggeration. And, in all candor, it wasn’t particularly wise on our part. If we could do it again, we would try harder to define and observe boundaries. We would create actual limits. We would take breaks. Or at least, we tell each other that that’s what we would do differently. We would try to create boundaries. We would try to take breaks.
But you can’t un-live life. And regrets are uncomely.
Re-examining life, however, is not only possible. In this case it’s prerequisite to the task at hand. The tasks at hand…
Rosslyn Dock House, by Melissa Davis
Leaping
Today Susan and I are longer-term Rosslyn residents — by a factor of four! — than even our most unbridled expectations at the outset. And yet we struggle to untether ourselves from our adventure fairytale with this home, property, and community. In the months ahead I’ll explore this curious connection with place, with an old house that became our home, with a community that beguiled us from the outset and wove us into its enchanting tapestry, and also with the fact that we originally envisioned this chapter of our lives as a temporary transition, a wholesome regrouping, and how challenging it has been to separate ourselves from Rosslyn, and from this community. The complex liminal space we envisioned Rosslyn becoming way back in 2006 was not ready to graduate us after three of four years as we’d originally anticipated. And today Rosslyn’s remarkable liminality is once again catalyzing profound and important growth for us. Transformation is omnipresent, not only at Rosslyn, but everywhere. We’re living through many levels of concurrent transition. And Rosslyn, as she has since 2006, is guiding us, nurturing us, and preparing us for what awaits us down the road.
Today’s post, though rambling and unwieldy, comes at a time when we are brainstorming and daydreaming and contemplating what it would look like to untether and disembark on a new adventure. The vision is still forming, the seed still germinating. But you’re invited to join us as we contemplate and eventually cast off.
Bur first, before introducing the wonders we’re currently navigating, let’s hopscotch through a few earlier posts that refresh our memory about how this marvelous tale began.
Rooted in a personal shift from wanderlust to houselust, I spent 2003 through 2005 recognizing that I was thinking differently about home and community.
I’d made it into my early thirties without owning a home due to my intentionally peripatetic lifestyle, and despite an aesthete’s appetite for buildings and furnishing and gardens, I hadn’t the least interest in settling down. No biological clock ticking. No nesting instinct. No yen for taxes and maintenance and burst pipes and snow shoveling. No desire whatsoever for the trappings of a settled, domestic life. I understood why it appealed to others, but for me the commitments and encumbrances far outweighed the pride and financial wisdom of home ownership.
Until recently.
Something had changed, and I couldn’t quite figure out how or why. (Source: Paris Renovation Bug)
Perhaps for nostalgic reasons I began looking at forgotten farms, bygone barns, meandering stone walls hemming in overgrown fields…
The perfect place, I explained to Bruce, the friend and realtor who shuttled me from property to property, would be a small, simple farmhouse in the middle of fields with a sturdy barn and some acreage, maybe a stream or a pond or access to a river. Barns, in particular, pulled me. Secluded places with good light and views, forgotten places with stories still vaguely audible if you slowed down long enough to hear the voices. No loud traffic. An old overgrown orchard, perhaps. Asparagus and rhubarb gone feral near the barn. Stone walls, lots of stone walls and maybe an old stone foundation from a building long ago abandoned, the cellar hole full to bursting with day lilies. A couple of old chimneys in the farmhouse with fireplaces. A simple but spacious kitchen. A bedroom with plenty of windows. A room to read and write and collage the walls with notes, lists, photos, drawings and scraps. Someplace I could tinker at myself, gradually restoring the walls and plaster and roof. Timeworn wide plank floorboards of varying widths that I would sand by hand to avoid erasing the footpaths and dings and cupping from a burst pipe years before. (Source: Serene, Patinaed Fantasy)
As Susan became more and more interested in my North Country real estate search, we both began to imagine what it would look like to spend more time in a place that pulled us like poetry, viscerally if sometimes inexplicably.
“I’d be living a green lifestyle in the Adirondacks too. I love it here. I’d be thrilled to live here for a few years.” Peripatetic by nature, I enjoyed relocating every three to four years. Having grown up in the Adirondacks, mostly in the Champlain Valley, I had long yearned to reconnect, not just for vacation or a weekend. (Source: Postprandial Soak)
Projecting our lifestyle fantasies onto the tapestry of the Adirondacks’ Champlain Valley became a constant pastime.
We could waterski and windsurf for half the year instead of just two or three months, starting in May with drysuits and finishing in the end of October. We could sail the Hobie Cat more instead of letting it collect spider webs on the Rock Harbor beach. I could fly fish the Boquet and Ausable Rivers in the afternoon while Tasha snoozed on the bank. We could join Essex Farm, the local CSA, supporting a local startup while eating healthy, locally grown and raised food. I could grow a vegetable garden, an herb garden, an orchard. Susan could work for an architecture firm in Burlington and volunteer at the animal shelter. We could buy season passes to Whiteface and downhill ski several days a week. We could cross country ski and snowshoe and bike and rollerblade and kayak and canoe and hike, and maybe I would start rock climbing again… [With] our collective brainstorm leap frogging forward, it all started to make a strange sort of sense, to seem almost logical. (Source: Almost Logical)
Susan and I loved to tell stories, and increasingly we were beginning to insert ourselves into the intoxicating plot of a co-authored fairytale nestled into the Adirondack foothills, rebooting our lives and our work in a more intentional, healthier, happier way. Creating a new chapter together.
“Are you serious? Would you really want to live at Rosslyn?” Susan persisted.
I was unclear whether she was horrified or excited. I had made the suggestion spontaneously, without forethought, and now I felt embarrassed. I knew the idea was absurd. We both knew it made no sense at all. And yet we had returned to see the house again that morning. A second visit to a house we had already decided not to buy. Why? It exerted an inexplicable pull for both of us. It had awakened our imaginations, our fantasies, our hopes.
“No. And yes,” I said, hedging. “No, I’m not really serious. I just suggested it off the cuff. It’s probably the stupidest idea ever, or at least the least serious idea ever. But yes, there is a side of me that would love to live at Rosslyn. I’ve felt it each time we’ve visited the house. I’m not sure I can explain it…”
“You don’t need to,” Susan said. She was beaming. “I agree.” She rose out of the bath and wrapped a towel around her broad shoulders. “What a dream it would be, to live in that grand old home!” (Source: We could live at the Rosslyn)
Little by little we were talking ourselves, talking each other into a transformation that would encompass virtually every aspect of our lives. It didn’t happen overnight, but the possibilities we were conjuring had begun to eclipse our desire to stay in Manhattan, my desire to return to Europe, and our realistic sense that anything else in the world could possibly make as much sense as relocating to the western shores of Lake Champlain to build a home together.
ACME, Marseilles White Spray Soaps, sold by Essex merchant Geo D. Anson.
Ever scouring the midden heaps—real and virtual—for Essex artifacts, I came across these curiosities. These ACME “picture cards” were offered as incentives to soap customers. Save ACME brand Marseilles White Spray Soap wrappers, mail them to Lautz Bros & Co. (located in Buffalo, New York), and receive these odd collectibles. Think of them as the colorful baubles of an early brand loyalty scheme.
Why am I sharing these?
Flip the cards and you find this.
It turns out that Essex merchant Geo. D. Anson (aka George D. Anson) was offering these to patrons of his general store in the late nineteenth century, yet another reminder of our industrious forebears in this once bustling community.
We learn a bit more about George D. Anson here:
George D. Anson established a store in the building now occupied by him in 188o. It is the same building which H. D. Edwards had used as a store years ago, but it had been vacant for some time when Mr. Anson came into it. (Source: “History of Essex, New York”, Chapter XXXIV (pp. 540-559) of History of Essex County with Illustrations and Biographical Sketches of Some of its Prominent Men and Pioneers, edited by H. P. Smith, published by D. Mason & Co., Publishers and Printers, 63 West Water St., Syracuse, NY 1885.)
And, if the data logged at Find A Grave Memorial is correct, then we know the following about George D. Anson:
Birth: 1839 Death: 1902 Parent: Serena Spear Anson (1800-1887) Spouse: Caroline Stower Anson (1847-1877) Children: Edward S Anson (1875-1946), Laura S Anson (1877-1954) Burial: Essex Cemetery, Essex, New York Source: Heidi McColgan (findagrave.com)
George D. Anson grave in Essex, NY (Source: Heidi McColgan via findagrave.com)
George D. Anson grave in Essex, NY (Source: Heidi McColgan via findagrave.com)
George D. Anson grave in Essex, NY (Source: Karen Kelly via findagrave.com)
I can’t personally vouch for the family tree since it leapfrogs my research, but it seems plausible. (Special thanks to Heidi McColgan and Karen Kelly for the information and photos.)
Anson’s Store and Anson’s Dairy
This is my first discovery that George D. Anson ran a store in Essex circa 1880. I hope to learn more about him/it in part because I’d like to know if this is the same Anson family that ran a dairy in Wadhams when I grew up. (See “Homeport in Wadhams, NY“, “Hickory Hill and Homeport“, etc.)
Vintage milk top from Anson’s Dairy in Wadhams, NY
I grew up in Wadhams when there was still a post office, a general store, and an Agway farm supply store. Does that sound like a Norman Rockwell calendar illustration? It certainly does when you add a milkman into the mix.
Rain snow or shine Mr. Anson delivered the brunt of our breakfast ingredients. Each week he drove or walked (if too snowy or icy to drive) up our steep driveway lugging his fresh provisions. He let himself in, dropped off the goods, picked up a check that my mother left for him once a month, and continued on his way.
I remember, as a boy, seeing a mature bald eagle sitting in this oak tree. It must’ve been 1984 or 1985. My mother was driving us from Rock Harbor to Plattsburgh, where we went to school. It was less common to see bald eagles back then. They were present in the Champlain Valley, but less abundant than today. So it was a big deal to come upon one unexpectedly. My mother slowed the car and pulled to the side of the road, cautious because there was very little room to pull out of the lane without getting stuck in a ditch that divided the road from the adjoining field. We sat a few minutes — my mother, my brother, my sister, and I — observing the majestic bird. Substantial in size and commanding in posture and intensity. It may have been the first time I saw this iconic raptor up close, and it made an enduring impression on me.
It was late winter, as I recall, and the monumental oak was bare, damp from rain, imposing. It seemed the perfect perch for such a majestic bird. A tree with dignity, with gravitas. And yet, I yearned for the eagle to spread his wings and soar. We asked my mother to honk the horn. She declined, reminding us that the eagle had been there first, that startling him would disrupt him unnecessarily. I suspected that she too wished the eagle would fly. But she slowly pulled back onto the road, and we continued our commute.
Since returning to the Adirondack Coast in 2003, I’ve made a point of stopping to appreciate this handsome tree during jogs, in the early years, and bike rides, over the last decade. I’ve never spotted another bald eagle presiding over its gnarled limbs, but some day I might. In the meantime I honor the tree — vibrant leafed, laden with acorns, rusting in autumn, bare but for snow frosting — enduring across decades but otherwise virtually unchanged.
Lone Oak Haiku
Dripping after rain, a vast acorn nursery, lone oak towering. — Geo Davis
Sally & Sentry
When I shared this lone oak photograph and haiku on July 23, 2021, our friend and Essex neighbor, Tom Duca, surprised me with a previously unknown detail about this tree.
“You know Sally Johnson saved that tree. Look close. She had a cable strung between the two big limbs so they would not split apart.”
I had not known. But knowing has added to my affinity for this lone oak. A quiet, timely, essential act of kindness by an admirable woman to honor and preserve an iconic tree, our Adirondack horizon’s sentry.
I am on a quest for permission. Permission from Susan, from Rosslyn, even from family and friends. Most of all I am on a quest for permission from myself. This morning a serendipitous swirl of accidental-coincidental happenings helped me realize this. Chief among them (and the rightful recipients my profound gratitude) in the order they fluttered across my morning:
newly arrived “intense black” (actually deep green) fountain pen ink from Wordsworth & Black;
a joy-filled (cheerful words and jolly doodles) letter from my mother, Melissa Davis;
timely, astute, perspective bending counsel from Virginia Woolf; and
even more timely but equally astute, epiphanic insight from Nick Bantock.
In the photograph above, a few artifacts hint at the serendipitous series of events that, to my arguably esoteric way of thinking, fall into a phenomenon I refer to as rhyming. Sometimes the universe rhymes, or as poet Jeffrey Harrison might offer, if you’re receptive to it, you might hear “The Singing Underneath“. I’d best stand aside and let him guide us.
“just beneath the world we see,
there is a silent singing that breaks out
at moments, in flickering points of light.”
— Jeffrey Harrison, “The Singing Underneath”
The fountain pen, clogged with dry ink, awaiting new ink, had been a metaphorical reminder that I was stuck. Clogged. I wasn’t flowing as I needed to be. But new ink arrived just in time. The crusty piston pulled clean water in and pushed it out again. Unclogging with each plunge of the piston. Anticipation as I drew up the new ink. And then lines on paper. Perfect. Flowing again.
My mother’s 2-page note, complete with her unique illustrations, was an attentive parade of grateful acknowledgments gathered during a recent adventure together. Unselfconscious. Whimsical. Honest.
Virginia Woolf’s words needn’t be explained, only shared.
“He chooses; he synthesizes; in short, he has ceased to be a chronicler; he has become an artist.” — Virginia Woolf
I don’t know where I came across these words, and I’m failing now to find them. Perhaps I’ve misattributed this quotation? This morning at least, it doesn’t matter. The shift in perspective is precisely what I needed to consider. to prepare me for the keystone concept that gathered it all together.
Artist and author, Nick Bantock, shared a reflection on Griffin & Sabine that resonated right for me.
THE idea of writing a love letter to oneself sounds both indulgent and cheesy, and yet done in the name of self-acceptance rather than narcissism, I feel there’s much merit to the act.
I think when I wrote the following passage, from Sabine to Griffin, I was doing exactly that, I was articulating an inner need to bringing together and unite my opposite selves, my logical and intuitive personas:
“I have loved you in every manner that my imagination could contrive. I have wanted you so deeply that my body sang with pain and pleasure. You have been my obsession, my passion, my philosophers stone of fantasy. You are my desire, my longing, my spirit. I love you unconditionally. Do you hear me, Griffin? Do you see that I cherish you beyond question, that you have nothing to prove to me? You are making your journey to secure yourself. I am already tethered to your side. If you can love yourself, as I love you, there will be no dislocation — you will be whole. Bring yourself home to me and I will immerse you in every ounce of tenderness I possess. Sabine.”
Looking back, I can see that whilst the tale of G and S was certainly an expression of romantic longing, it was also a quest for permission. I was trying to give myself, and others, the encouragement to be both opposite and whole. — Nick Bantock (Source: Facebook, November 14, 2022)
Eureka! In revealing what he’s come to understand about what compelled him to create the Griffin & Sabine books, his words struck that ineffable something that Susan and I are grappling with and that I’ve been exploring in Rosslyn Redux — wondering, yearning, exploring, growing toward, backsliding and second guessing, and then venturing tentatively out again — over the last couple of years. I genuinely believe that he has captured succinctly and lucidly our journey: it’s “a quest for permission.”
I’ve referenced frequently, perhaps too frequently, an ongoing transformation in our relationship with Rosslyn, an evolution in our scheming and prognosticating and brainstorming. I’ve acknowledged liminality and the sometimes bittersweet, sometimes conflicted emotions that manifest suddenly and unpredictably as we attempt to navigate from comfort and stability toward the unfamiliar, unknown. At last I’ve stumbled on what I’ve needed to know. My quest for permission needn’t require such wayward roving. It is first and foremost my own consent I’m questing after. And part of accepting this is granting myself permission to embrace art above chronicle. I’ve suspected this. Dithered. Wondered. Worried. But this morning a confident confluence is flowing. And I’m ready…
I share with you a bald eagle omen, courtesy of my mother.
Bald eagle by your boat house. Saw this elegant creature as I went to massage and he was still there when I returned. May be a sign of something good? ~ Melissa Davis
Rosslyn’s boathouse is often frequented by bald eagles, hawks, and other raptors, but I’m choosing to embrace my mother’s most recent sighting as an important symbol.
When an eagle appears, you are on notice to be courageous and stretch your limits. Do not accept the status quo, but rather reach higher and become more than you believe you are capable of. Look at things from a new, higher perspective. Be patient with the present; know that the future holds possibilities that you may not yet be able to see. You are about to take flight. (Source: pure-spirit.com)
I’m digging deep, summoning courage, and shifting my perspective!
From eagle we learn that life looks different from an aerial perspective. We need to take a new view on the challenges in our lives. If we don’t readily find solutions it may be because our vision is too limited to see the solutions that are so glaringly obvious. ~ Ina Woolcott (Source: Shamanic Journey)
It’s time for a fresh vantage point — personally, professionally, politically — so I’m grateful for this bald eagle omen. I’m reminded that my vision may indeed have become too limited, too myopic. Time to shift and amplify the view. Time to prepare for flight!
Welcome to spring in the Champlain Valley. And to Rosslyn’s annual spring drama: the Lake Champlain boathouse blues!
Over the last month lake water level has been rising, rising, rising. And rising some more. In fact, it’s even risen since I started drafting this post. (Current level a little further down.)
Boathouse Blues Begin
Until recently I was singing the end-of-ski-season rag and the dandelion ditty while quietly hoping that Lake Champlain water levels would rise enough to hedge against last summer’s all-too-low water levels.
And then I received this recent message and photo from Essex friend and neighbor Tom Duca.
Lake Champlain Boathouse Blues (Source: Tom Duca)
“The lake was superlow last year, but now it’s moving right up… Most of the snow is melted in the higher elevations, so I don’t think the lake will get much higher than this…” ~ Tom Duca
Nerve wracking, right? Hopefully Tom’s snow melt assessment is accurate. And hopefully it’s not an overly rainy spring.
My mother was the next boathouse blues melody maker. Here are her updates.
Lake Champlain Boathouse Blues (Source: Melissa Davis)
“Water much higher, you’ll be glad to know!” ~ Melissa Davis
So I suppose my wishes for higher-than-2016 water levels weren’t as quiet as I had thought. And initially Lake Champlain’s spring water level increase did relieve me.
And then my mother sent me this.
Lake Champlain Boathouse Blues (Source: Melissa Davis)
“Water rising! Almost even with Old Dock dock.” ~ Melissa Davis
She was referring to the Old Dock Restaurant, located just south of the ferry dock. Time to start monitoring the official Lake Champlain water level.
Boathouse Blues Reference & Refrain
For the official Lake Champlain water level, I turn to USGS.gov and pull up a one year retrospective that reveals the lake is much higher than last spring.
Current Lake Champlain water level on April 21, 2017 (Source: USGS.gov)
See that red line marking 100′ above sea level? That indicates flood stage. Yes, we’re pretty close. In fact, as of today, April 24, 2017 the most recent instantaneous “water surface elevation” is 99.74′ above sea level. And by the time you read this, it may be even higher. Check out the current Lake Champlain water level (and temperature) if you’re curious.
Until then, here are couple of additional glimpses of Rosslyn boathouse struggling to stay dry. This latest refrain in the Lake Champlain boathouse blues was photographed by Katie Shepard.
Lake Champlain Boathouse Blues (Source: Katie Shepard)
Great angle, Katie! You can tell that even on this relatively placid day, a medium-sized wave or boat wake would likely inundate the floorboards.
Lake Champlain Boathouse Blues (Source: Katie Shepard)
Looking down on the boathouse gangway reveals flotsam and jetsum that have already washed up on the decking.
Lake Champlain Boathouse Blues (Source: Katie Shepard)
And Katie’s last photograph shows the water level almost cresting Roslyn’s waterfront retaining wall. Fingers crossed that we won’t experience flood stage this year!
