Several Rosy Maple Moth (Dryocampa rubicunda) specimens have visited Rosslyn in recent days, all gathering on the exterior of the mudroom door.
Some years we see none; others we see many. Because the pre-metamorphosis Rosy Maple Moth larvae (aka greenstriped mapleworms) feed on maple and oak foliage, I suspect their population expansion and contraction corresponds to the health of our local trees. But, to complicate the equation, adult Rosy Maple Moth moths actually don’t eat (apparently they don’t even have mouths). Hhhmmm…
Rosy Maple Moth, July 7, 2023 (Photo: Geo Davis)
Rosy Maple Moth
As the photographs in this post clearly indicate, this is one moth that you won’t likely mistake for an imposter.
Rosy maple moths are distinguishable by their incredible bright pink and yellow color and wooly body.
In addition to the stand-out coloration, that foppish mop of furry fluorescent hair makes it difficult to miss these flashy friends. And yet, this curious camouflage may, in fact, serve to preserve the Rosy Maple Moth from predators. It is suspected that the bright coloration May actually deter hungry birds shopping for fast food.
The predators of the rosy maple moth and larvae mostly consist of birds including blue jays, black-capped chickadees, and tufted titmice. The bright coloration of the wings may serve as a defense mechanism to trick predators into thinking they are poisonous and not edible. The colouration of this moth rather surprisingly acts as a form of camouflage, blending it in with maple seed cases.
And given the greenstriped mapleworm’s (Rosy Maple Moth larva) culinary cohabitation with maples, perhaps resembling maple seed cases is a handy way to evade hungry blue jays, etc.
Caterpillar Hosts: Maple trees including red maple (Acer rubrum), sugar maple (A. saccharum), and silver maple (A. saccharinum); and oak trees including turkey oak (Quercus laevis).
We certainly have plenty of sugar maples at Rosslyn, and perhaps our fortunate uptick in brilliant pink and yellow moths bodes well for the health of our maples? Hope so!
The past lives on in art and memory, but it is not static: it shifts and changes as the present throws its shadow backwards. — Margaret Drabble
I return today to a recurring theme, a preoccupation perhaps, that wends its way through my Rosslyn ruminations and my collections of photographs and artifacts. While the past lives on, the present riffs, repurposes, and reimagines the past. Adaptive reuse. Upcycling. Reinvention. Art.
Buckle up. Or pour yourself a cocktail…
The Past Lives On: NW Corner of Icehouse and Carriage Barn, September 21, 2021 (Photo: Geo Davis)
NW Corner of Icehouse
Before tripping too far into the wilds of my imagination, let’s root the present inquiry in something a little less abstract, a little more concrete. Like, for example, the northwest corner of the icehouse about a year and a half ago, September 21, 2021. That’s what you see in the photo above as well as those below.
I’ve titled this post, “The Past Lives On”, and if you’ve been with me for any time at all you’re well aware that Rosslyn, the property around which this multimodal inquiry circumnavigates like a drunken sailor, is rooted in the past. And the present. Starting out in the early 1800’s and spanning almost exactly two centuries.
I’ve pilfered the title from the quotation above, ostensibly the perspective of Virginia Woolf filtered through the mind of Margaret Drabble. The broader context for Drabble’s perspective is landscape. Let’s look a little further.
The past lives on in art and memory, but it is not static: it shifts and changes as the present throws its shadow backwards. The landscape also changes, but far more slowly; it is a living link between what we were and what we have become. This is one of the reasons why we feel such a profound and apparently disproportionate anguish when a loved landscape is altered out of recognition; we lose not only a place, but ourselves, a continuity between the shifting phases of our life. — Margaret Drabble, A Writer’s Britain: Landscape in Literature, Thames & Hudson, 1987 (Source: Ken Taylor, “Landscape: Memory and Identity”)
In the photo above I’ve recorded the exterior of the icehouse and adjoining lawn as it has looked since approximately the 1950s which is when we understand that a clay tennis court was built behind the icehouse and carriage barn for the pleasure of Sherwood Inn guests.
Actually, I’m slightly oversimplifying the contours of history. Given what I understand, the clay court was installed for Sherwood Inn patrons, but at some point in the decades since, the court was abandoned. Or at least *mostly* abandoned. The +/-10′ tall wooden posts for an enclosure along the northern end of the court remained until we removed them early in our rehabilitation. And one of the two steel tennis net posts will at long last be removed in about a week when Bob Kaleita returns to tune up the site for hardscaping and landscaping. But a long time ago the clay surface was abandoned and a perfectly flat lawn replaced it. We’ve enjoyed using it as a croquet, bocce, and volleyball court for years.
If you look at the bottom right of the photograph at the top of this post you can see that there’s a topographical bulge in the lawn, sort of a grassy hummock that is crowding the building(s). In the photo below you can again see how the ground is higher than the framing on both buildings.
The Past Lives On: NW Corner of Icehouse and Carriage Barn, September 21, 2021 (Photo: Geo Davis)
Not an ideal situation when organics (lawn, landscaping, etc.) crowd wooden buildings. Unfortunately the tennis court was built above the sills of both buildings, and inauspiciously close. Moisture, snow, and ice buid-up over the decades compromised the structures of both buildings because of this miscalculation.
Today, both buildings have had their framing rehabilitated, and their structural integrity is better than ever. In addition, significant site work last autumn (remember “The art of Dirt Work“?) and again next week is restoring the ground level adjacent to the icehouse and carriage barn to more closely resemble what it likely looked like in the 1800s when both buildings were originally sited and constructed.
A landscape altered. A landscape restored.
A memory recreated with the art of landscaping. The past made present. And yet, not. The new grade has been reimagined as an outdoor recreation and entertaining area not likely resembling the environs a couple hundred years ago. And so it is that the past “shifts and changes as the present throws its shadow backwards”…
The Past Lives On: NW Corner of Icehouse, September 21, 2021 (Photo: Geo Davis)
Present Shadowed Past
What if innocence, in a sense, is less unbiased naïveté than wonder-wander, curiosity, and experiment? Or kneading gray clay dug behind the barn, behind the garden, before the forest (but barely before) after summer rain forty years ago. Stiff and cold at first, loosening with touch, oozing through cupped palms and playful fingers, shapes suggest themselves. Contours and textures echo yesterdays unrecorded and likely forgotten but re-emergent, confections conjured of sodded clay, and curiosity.
The Past Lives On
Indeed, something endures, but rarely should we be confident that we are knowing the past as it was. As it once was. We are informed and perhaps sometimes misinformed by our perspective sometime subsequent to the archival echo we fixate upon. And yet, perhaps allowing for reimagination, adaptive reuse, and even ahistoric reinvention, drawing upon the artifacts and memories we inherit but investing them with whimsy and wonder is one of the best ways of rehabilitating the past. Art from artifacts…
Welcome to spring! It’s currently 43° at Rosslyn, on target to hit 46° shortly. Sun is out. Snow is melting. Bulbs are bursting. So many remarkable signs and suggestions that the vernal equinox may indeed have marked the transition from winter to spring (daffodils and daylilies perking up, an auspicious sunset cloud formation, a handsome Barred Owl encounter,…)
Let’s start out with our just-passed solar equinox and then work our way toward the Barred Owl (Strix varia) and some celestial special effects from Susan’s end-of-day walk with Denise.
Vernal Equinox: Rosslyn Sundown (Photo: Susan Bacot-Davis)
Vernal Equinox-ish
In 2023, the official first day of spring is Monday, March 20. This date marks the “spring equinox” in the Northern Hemisphere… at 5:24 P.M. EDT. This… is the astronomical beginning of the spring season in the Northern Hemisphere… (Source: The Old Farmer’s Almanac)
That was yesterday. In fact, this post was intended to be published yesterday. On time. Relevant. But, sometimes searching for poetry preempts timely updates. Sorry.
Despite the fact that today’s post is slightly out of sync with the astronomical calendar, I couldn’t resist the chance to subtly revise yesterday’s draft and share it anyway. There was simply too much resonance. Yes, I’m biased. But after yesterday’s candid peak into Rosslyn’s artifact-packed carriage barn (and into my mental morass where architectural salvage, historic rehabilitation, poetic introspection, and memoiresque storytelling commingle) it felt, well, almost logical. Bear with me? I find that spring’s arrival rarely follows a predictable schedule. Each year unique. And, in spite of the heathen thrill that comes with romancing celestial and meteorological rituals, it would appear that the vernal equinox is merely a symbolic approximation of springtime.
An equinox occurs twice a year, around 20 March and 22 September. The word itself has several related definitions. The oldest meaning is the day when daytime and night are of approximately equal duration. (Wikipedia)
I excerpted the tidy part, eliminating the inevitable diatribe about day and night not really being the same length. A debate for another blogger. I love rituals, even when they’re easily scoffed. Here’s a flip riff by Phil Plait (@BadAstronomer) if you’d like a quick scoff before we romance the vernal equinox.
Today is the vernal equinox, what a lot of folks think of as the first day of spring (though given the forecast, people on the U.S. East Coast can be forgiven if they’re rolling their eyes at that thought, assuming their eyeballs aren’t frozen to their eyelids). (Slate)
The omnipresent smell of mud hints at spring’s earth entrance, and that’s good enough for me. No. More. Snow. Please!
Tony and I were returning from the forest beyond Library Brook where we’d been blazing the next meander in Rosslyn’s ongoing trail building initiative. The brook was swollen and running wild. The trees were a-chatter with avian neighbors and squirrels riffing raucous against the riparian chorus. It felt like a page out of Dylan Thomas. And then Tony spied the owl.
“Do you see it?” he hoarse-whispered, pointing up into the trees.
I didn’t. He guided my gaze. But I couldn’t identify the big blob on a branch. Wrong sunglasses.
“It’s an owl,” he said
We walked closer. I fumbled with my phone, launch the camera app, zoomed in as far as I could, snapped a couple of images. We kept walking. The owl swooped away, an immense span of plumage, arcing through trees and branches powerfully, gracefully without brushing a twig.
Disinclined by temperament to observe overt omens and symbolism in the world around me, I’m nonetheless receptive to the “singing underneath”. Sometimes life rhymes. I try to exercise humility and wonder in these moments. I endeavor to hear and observe and sometimes to record the poetry that presents itself. I’ll leave conclusions to others. For me, for now, questions are plenty.
Vernal Equinox: Day Lilies Reawakening (Photo: Geo Davis)
Daylilies
With snow, still covering much of the ground, bulbs are bursting up, unwilling or unable to wait. The earthy array above are day lilies, among the thousands of green shoots reaching skyward below the stonewall that divides our lower lawn from upper lawn.
Perhaps overly precocious sprouts. I’d venture a guess that some more freezing nights, possibly even some more snow might challenge these daylilies. And yet, as in all previous years, they will flourish, foliage thickening, stout stems reaching somewhere between knee and waist by Independence Day when they’ll explode in joyful orange blooms. They will. And yet I can’t help wondering if they’re premature?
Vernal Equinox: Cloud Theatre I (Photo: Susan Bacot-Davis)
Sundown Skies
As if conjuring orange blooms is contagious, the day’s spring preview weather concluded with a dash of colorful drama and cloud theatre extraordinaire.
Taken by Susan while winding down the day with Denise and Carley, ambling Blockhouse Road, likely lost in conversation. Phone photography sure has come a long way!
Vernal Equinox: Cloud Theatre II (Photo: Susan Bacot-Davis)
So beguiling and mysterious is that second cloud theatre image that I’m sharing a tighter, second perspective.
Vernal Equinox: Cloud Theatre III (Photo: Susan Bacot-Davis)
Welcome back, springtime. What wonders do you have in store?
Did Punxsutawney Phil see his shadow? Is spring around the corner? Are we headed into six more weeks of winter?
In this high tech era of satellites forecasting weather from beyond the beyond, intricate algorithms gobbling gargantuan data sets, and media channels dedicated to analyzing and communicating meteorological mysteries in real time, we still get excited on February 2 to see how a groundhog will react to brisk midwinter conditions. It’s folksy fun, I suppose. Maybe a result of cabin fever…
Today the furry fellow decided it was wiser to double down on hibernation. Spring’s still a long way off, at least in Punxsutawney, Pennsylvania.
To be sure, Essex isn’t exactly tropical compared to Punxsutawney, so a belated de-wintering would seem inevitable based upon this morning’s proceedings. But, I’m pro-spring, even if that puts me in disagreement with Phil.
Unlike the groundhog,
fur ruffed against shadowed chill,
I suspect springtime.
I love springtime almost as much as I love morning, and for similar reasons. So much possibility in both reawakenings!
And who’s to say that haikupoetry is any less indicative of spring’s arrival than a groundhog coddled by top hatted members of the Punxsutawney Groundhog Club gathering at Gobbler’s Knob? Not I. (Which begs the question, what *else* do marmots and micropoems have in common?)
What to make of an annual tradition centering around a groundhog venturing out of hibernation to prognosticate on the coming season? Let’s dig into the legend of Punxsutawney Phil.
Each February 2, on Groundhog Day, the members of the Punxsutawney Groundhog Club make the pilgrimage to Gobbler’s Knob, Phil’s official home.
The group waits for Phil to leave his burrow and, legend has it, if he sees his shadow we’re in for six more weeks of winter. If he doesn’t, we get to bask in an early spring.
Scientifically speaking, winter will officially come to an end on the equinox on March 20, regardless of what Phil predicts. But Mother Nature doesn’t always follow the timetable, and neither does Phil.
Though Phil has no meteorology degree, every year the United States tunes in for his prediction.
Phil’s track record is not perfect. “On average, Phil has gotten it right 40% of the time over the past 10 years,” according to the National Centers for Environmental Information, a division of the National Oceanic and Atmospheric Administration… (Source: CNN)
So, the meteorological marmot’s not the best indicator of whether or not winter will yield early/late to spring.
This year marks the third straight year the groundhog spotted his shadow, something that he has often done since making his first prediction in 1887. Of the 127 recorded times Phil has predicted the weather, he has now seen his shadow 107 (84%) times. His longest streak of seeing his shadow remains at 31, when he saw it every year from 1903-33.
It’ll take some time to figure out if Phil’s prediction will be right, but given his history, he’s likely wrong. (Source: USA Today)
But math be damned! There’s a whimsical charm surrounding the event. Seasonality keeps us in sync with our environment, wondering and wandering about nature, so the meter-marmot’s sub 50/50 track record isn’t really the point.
To better understand the popularity of Groundhog Day, Troy Harman (Penn State University history professor and Gettysburg National Military Park ranger) talks left brain, right brain and the science-to-tradition spectrum.
“Throughout history, whenever there has been a real strong emphasis on science, its counterpart of intuition, instinct, emotion, imagination — the right side of our brain — pushes back a little bit,” Harman says, explaining that Groundhog Day took off right around the time of the industrial revolution.
He says those massive societal and technological changes spurred a desire to return to what people imagined were simpler times, in the form of things like literary romanticism and gothic revival architecture…
“I strongly suspect that the people that go to Gobbler’s Knob are fully aware of the power of science, but at the same time want to hold on to traditions and a deeper vibe,” he says. “There’s the instincts and the intuition and the imagination that every human being has that has to come into balance with logic and reason.” (Source: NPR)
It seems there’s plenty more to be said on this logic, reason, and science versus intuition, emotion, and imagination comparison, but this isn’t the time or place. And I think that Harman’s probably right. Trusting in science and logic, many/most of us still allow room for romantic traditions and intuition. It’s quite likely a part of what humanizes us.
So whether today’s shadow viewing gets chalked up on the wins side or the losses side of Punxsutawney Phil’s tally, we’re likely to see another six weeks on winter weather in Essex. Sure, there will be some balmy days when the mud oozes, but it’s a rare year that February and even much or March aren’t snowy or at least inclement. But we’re hoping this year to take advantage of the high tunnel to fast-track spring in the vegetable garden, so we just might stand a chance of realizing the optimism in my haiku!
In closing, you may be wondering what the difference is between a groundhog and a woodchuck. And what about a marmot?!?! Although the three names are often used interchangeably, the “marmot” is exactly the same as the other two. While a groundhog and a woodchuck are one and the same wildlife (taxonomically Marmota monax), the term “marmot” generally refers to the entire genus Marmota and/or the subgenus Marmota which includes the groundhog (aka woodchuck, whistlepig, monax, moonack, whistler, groundpig, etc.) Armed with that tidy tidbit of trivia you’re armed and dangerous for happy hour this evening. Cheers to Phil. Cheers to spring!
After purchasing Rosslyn, George McNulty, presented us with a bronze sculpture born of his own hands and imagination. Standing with arms outstretched, extended skyward, the figure’s celebratory posture exudes joy and pride. In my view, McNulty’s miniature man appears to be celebrating or perhaps praising, arms reaching upward toward the heavens. Rosslyn Rapture, I’ve titled it (albeit only in my mind.) With no permission from the artist to name/rename his work, you’ll note no plaque adorning the base, no engraved nametag competing for attention. In fact, until now I’ve kept mostly mum about my personal title for McNulty’s sculpture. It felt presumptuous to impose my narrative, my interpretation onto another’s creation.
Rosslyn Rapture: Bronze Sculpture by George McNulty
And while we didn’t have Rosslyn Rapture plaqued, we did have it mounted on a small marble base for display. When we received the sculpture a couple of bolts protruded from the bottom of the feet for mounting. Since, at first, the figure could not be exhibited without a base, we held it in our hands. We felt the weighty bronze, ran our fingertips over the textured surface shaped by the fingers of a man who invested almost four decades into studying and documenting and slowly restoring the buildings which we now call home. We traced the figure’s lanky limbs and placed our fingertips into the sculpture’s tiny palms. There was an intimacy. A connection. Or so I chose to believe.
In time I came to see the sculpture as McNulty’s exaltation for a home and a heritage that he loved. A man exalted with reverence. It was a hypothesis that fit the man I’d briefly come to know. It was a hypothesis consistent with the anecdotes and memories shared by his Essex friends and neighbors. It was a hypothesis that justified his commitment—spanning almost four decades—to preserving this historic property. But mostly, as I’ve come to learn in the years since, it was a hypothesis that helped me explain my own love affair with Rosslyn. I realize now that I was ascribing my own passion for this property onto the previous owner. I was enraptured with Rosslyn, with our new life at Rosslyn, and with the prospect of restoring this stately home and grounds to the restrained elegance still evident but fading. I had reimagined this art as an artifact of the previous owner’s passion and devotion for Rosslyn when in fact my hypothesis was first and foremost self referential.
Rosslyn Rapture: Bronze Sculpture by George McNulty
A Bronze Sculpture
In short, I realize now that Rosslyn Rapture was my creation. McNulty’s was a bronze sculpture of a man with outreached arms and open hands lifted high. I saw a man grasping for something or praising a higher being. Or perhaps the man’s adulation was for a woman with whom he was impassioned? But fancy clouds my vision. The man’s arms are outreached. That is clear. Whether in praise or celebration or something altogether different, only the sculptor knows.
For many years the figure has presided over our living room from his perch on the mantle above the northern fireplace. When I gave George McNulty’s son, Jason, a house tour a few year after completing our renovation, he immediately spotted the sculpture.
“What happened to the baby?” he asked.
“What do you mean?” I responded, confused.
“The man was originally holding a baby up in the air,” he explained.
It had never even occurred to me that there might have been another part of the sculpture, a part now missing. A baby. That’s what he’s lifting up and celebrating.
I explained to Jason that we had not removed the baby. We had never even seen the baby. Aside from the addition of a marble base, this is exactly how the sculpture looked when it was gifted to us by Jason’s father.
Probably his father had made two versions, Jason suggested, one with a baby, and one without. Or perhaps the baby was cast separately and conjoined afterward.
Both possibilities seem possible, probable even. Imagination flushes out the narrative. George McNulty sculpts the man out of clay, creates a mold from the original, and—using the lost wax process—casts several bronze replicas. Separately and by the same process, he casts bronze babies which he then welds to the man’s hands. One of the figures, for some mysterious reason, remains empty handed. No baby.
I found myself, wondering if his son, now standing in the living room of the house where he had grown up, might perhaps have been the inspiration for the sculpture, maybe even the model. The man did, after all, resemble his father. And the baby? Anybody’s guess.
It occurs to me later that there’s another possibility. Perhaps each of the figures originally held a baby high in the air. But one broke. Or the sculptor removed it. Maybe that’s why he gave it to me, because it was an incomplete piece. This seems like a reasonable hypothesis, and maybe it’s correct. But I prefer the possibility that he gifted us this version because it leaves open the hands, open the possibility that Rosslyn is the subject of the man’s ecstasy.
Rosslyn Rapture: Bronze Sculpture by George McNulty
Rosslyn Rapture: Bronze Sculpture by George McNulty
Searching for Poetry Amidst Architectural Salvage (Photo: Geo Davis)
Searching for poetry, questing for questions that need no answers to matter and guide and enrich.
This might be my epitaph. Some day. But not yet. I hope.
Today, the vernal equinox, I awoke at 4:00 AM, eager to start cooking a wild boar roast I had thawed. Actually it wasn’t the roast that caffeinated me prior to my first cuppa MUD\WTR, that zero-to-sixtied my green gray matter within seconds.
If the human brain were a computer, it would be the greenest computer on Earth.
You with me? Caveat emptor: it’s going to be that kind of post!
It wasn’t anticipation of the pulled wild boar that I enjoyed for lunch (and soon will enjoy for dinner) that prevented me from falling back asleep. (I love variety, but if it ain’t broke… And if you’ve cooked 5.4lbs of wild boar shoulder, then share, eat, share, eat, share,…)
It was one of those light-switch-on awakenings. Sound asleep one moment, wide awake the next. 100% alert, cylinders thumping away, and focus dialed in. Monday morning’s are often like that for me. And with an ambitious punch list for the icehouse rehab, I needed to hit the ground running. Or jumpstart the week by roasting a wild boar shoulder?
Both.
But, after talking through exterior trim and clapboard siding with two contractors, explaining how to prune watersprouts (aka “growth shoots) out of our mature American Linden to another contractor, and various other midmorning miscellanea, I headed into the carriage barn for some, ahem, research.
I’m still sorting through architectural salvage and surplus building materials, endeavoring to make final decisions for the icehouse. Woulda-coulda-shoulda tackled this many months ago, and I tried, but the process continues to evolve. In some cases, it’s continues to elude me. So my endeavor continues.
Today I ruled out a couple of ideas I’ve been developing, visions for upcycling deconstructed cabinetry from Sherwood Inn days. The visions have faded, but all is not lost. In the shadowy space they’ve left behind, I stumbled upon something else.
A poem.
Searching for Poetry Amidst Architectural Salvage (Photo: Geo Davis)
Searching for Poetry
Wabi-sabi wandering,
wabi-sabi wondering —
reimagining relics,
architectural salvage,
weather worn detritus,
offcuts, rusty remainders,
time textured tatters,
pre-mosaic fragments,
and dust mote mirages —
so much pulling apart,
so much pushing aside,
searching for poetry.
Today I concluded that the vision I’d been pursuing — a vision of upcycling deconstructed cabinetry and paneling from the Sherwood Inn’s colonial taproom — had been little more than mirage. However as this mirage vanished, I happened upon a glimmer of clarity, fleeting but encouraging, around an even bigger mystery that I’ve been chasing. Also mirage-like, also elusive, also a problem that persistence might hopefully tame, also a quest for questions that illuminate and instruct even when their answers evanesce.
This glimmer of clarity (try to imagine a spark that just might benefit from attention, a flickering flame that invites kindling with promises of a roaring bonfire) materialized briefly where moments before a mirage had danced and vanished. And what did I see? Companionship. Kinship. Similarity. Affinity. Between poetry and architectural rehabilitation and adaptive reuse. A glimmer and gone. I exaggerate, but the picture is at once protean, subtle, and elusive.
Nevertheless, I will continue to strive, risk, and experiment. I will continue essaying to illustrate the intimate overlap between poetry and construction — especially between composing lyric essay and adaptive reuse of existing buildings and building materials — until my wandering and wondering renders an oasis. Or admits a mirage.
Sometimes meteorologists get it right. And Rosslyn’s winter wonderland 2019 just might become Exhibit A in the Meteo Defense column. Thank you, snow gods!
Winter Wonderland 2019: Rosslyn buried in 20-24″ of fresh snow. (Credit: P.M.)
Winter storm warnings wander across our radar often enough this time of year that we become a little meteorology skeptical. Not cynical. Just suspicious that promised snowstorms won’t quite measure up to the hype. Sort of a wait-and-see approach to meteorological forecasting…
But this winter storm was different!
With 20″-24″ of magnificent white stuff blanketing Rosslyn, it’s proof positive that sometimes their predictions are spot on.
Winter Wonderland 2019: Rosslyn’s front entrance buried in 20-24″ of fresh snow. (Credit: R. P. Murphy)
Winter Wonderland 2019: Rosslyn’s carriage barn and ice house buried in 20-24″ of fresh snow. (Credit: R. P. Murphy)
Winter Wonderland 2019: Rosslyn’s “backside” buried in 20-24″ of fresh snow. (Credit: R. P. Murphy)
Winter Wonderland 2019: Rosslyn’s boathouse buried in 20-24″ of fresh snow. (Credit: R. P. Murphy)
Winter Wonderland 2019: Essex ferry approaching Rosslyn’s boathouse. (Credit: R. P. Murphy)
Winter Wonderland 2019: Rosslyn’s stone walls buried in 20-24″ of fresh snow. (Credit: R. P. Murphy)
Spectacular, right? This snowfall reminds me of the snowfalls I remember from my Adirondack childhood in the 1970s and 1980s. Such massive mounds of powdery bliss! I sometimes wonder if my memory has been kidnapped by my imagination, but this winter wonderland is proof that epic snowfalls are real. And magnificent. Time to go outside and play.
Are Icehouse Rehab Updates Achieving Objectives? (Photo: R.P. Murphy)
On October 18 I laid out some goals for my series of icehouse rehab updates. I’d already been posting for about two and a half months at that point, looking in depth at the summer’s deck rebuild. I intended to continue posting for the duration of our adaptive reuse project, transforming a late 19th century icehouse into a 21st century studio+studio+flex entertaining space. Today, about another two and a half months into the journey, I’d like to evaluate whether or not I’m on target. Are my icehouse rehab updates achieving objectives?
Before revisiting the goals, I should note that I’ve neglected the serializing protocol—titling updates with sequential numbers—that I established at the outset. (I think this is only a temporary commission that I will/may update anon to help organize the posts chronologically.) This started when my updates fell out of sync with the calendar weeks which I’d initially used as an organizing principle. And subsequently I began emphasizing the discreet projects and people instead of the chronological sequence. Concurrently chronicling the boathouse gangway added to the confusion and incentivized focusing more narrowly on each notable project and progress milestone. Sorry if this has been confusing. Consider it an act of omission rather than an act of commission.
So, let’s start with my original list of goals.
The idea behind these weekly updates, chronicling our progress on the icehouse rehabilitation project is multifaceted (ie. muddled and evolving.) As I recap the second week, here are few of the underlying objectives:
recognize/celebrate our distributed team (Trello to coordinate, @rosslynredux to showcase, rosslynredux.com to chronicle, etc),
transparently map our rehabilitation process, accounting for the ups and the downs without “airbrushing” the journey (rehab inside out)
document our fourth and final historic rehabilitation project at Rosslyn,
inspire others to undertake similarly ambitious and rewarding rehab adventures, ideally with an eye to adaptive reuse of existing structures,
and leverage this current experience as a way to revisit and reevaluate our previous sixteen years of Rosslyn rehab ad infinitum.
That first bullet point was as much a personal planning memo as anything. Our use of Trello within the team isn’t really particularly relevant to readers, so I’m not sure why I included that. But I did, and we depend heavily on this application for keeping everything in sync; coordinating materials, subcontractors, and deadlines; tracking progress; etc. I’ve been using Trello for years, and it’s difficult to imagine life without it.
Are Icehouse Rehab Updates Achieving Objectives? (Photo: Geo Davis)
As of now I’m pretty pleased with the accomplishment on rosslynredux.com which I’ve succeeded in updating daily (162 days today!) with episodic, voyeuristic glimpses into the day-to-day. Although this chronicle, isn’t an unfiltered tell-all (in part because it would take too much time to record and relate in real time), it’s an attempt to live this project inside out. In other words, it’s an open door and an invitation. So far, so good. And challenge of documenting the progress on several concurrent projects happening at Rosslyn has re-immersed me in the quest—a protracted contemplation on reawakening and revival (domestic/residential and individual/personal) while exploring the role that home plays in this renewal—that I’d allowed the languish in recent years. And so it is that my daily updates are interspersed with reflections on the broader arc of our relationship with Rosslyn, wayward wonderings about the poetics of place, peripheral inquiries into homeness and nesting (and their alternatives), and even a fair share of introspection around how we perceive and remember and recount since I’m made daily aware how differing our experiences of the selfsame events and happening and conversations can be.
And then there is @rosslynredux in Instagram, a whimsical world of eye candy and creative chronicles and inquiring innovators and curious companions all around the world. Although there is much overlap with the website, I often discover a refreshing creative energy on the platform. Many inspiring connections have come out of this vast digital agora, and the encouragement and feedback have been deeply stimulating.
My second bullet above, “transparently map our rehabilitation process, accounting for the ups and the downs without ‘airbrushing’ the journey” has been mostly successful. Over the last five plus months I’ve welcomed a more collaborative creative energy to the project, encouraging others participating directly or indirectly to share their perspective(s). This has largely come with photographs and videos, sometimes words via phone calls, text messages, and emails. I am finding this level of narrative collaboration invigorating, and I’m hoping to encourage more in the weeks ahead. Diversifying the creative ingredients will likely improve transparency. That said, there are inevitable ups and downs on these sorts of projects, these sorts of timelines, and I’ve exercised restraint on several occasions when less filter might have made compelling storytelling but might also have compromised the collegial energy underpinning the many successes to date.
As such the metaphorical “fly on the wall” is more aspirational goal than reality, and the voyeuristic glimpses captured in these blog posts do not pretend to be much more than editorialized field notes. Shoot for objectivity; settle for subjectivity. (Source: Voyeuristic Glimpses & Mosaic Mirages)
In short, I’ve remained an active mediator, determining how much/little of the ups and downs benefit from 100% transparency. That said, this has been the “rehab inside out” that I envisioned at the outset, and it has added a fascinating component to the scope of our current projects.
Are Icehouse Rehab Updates Achieving Objectives? (Photo: Geo Davis)
Proceeding to the third bullet, I’m pleased with the fact that we’re documenting this final historic rehabilitation project at Rosslyn far better than any of the other three buildings. Fortunately I have years of photographs, notes, field notes, audio recordings, etc. that I’m now drawing upon to help fill in some of the “white spaces” in this nearly seventeen year adventure. There’s far too much discourse and brainstorming and troubleshooting to record it all, but I’m collecting plenty of material that I’ll post if/when time allows. I’m eager to show others what this process looks like, what a 16+ year rolling renovation project feels like, and I’m hoping that sharing this experience will also help amplify the idea of home renovation and construction and landscape design and gardening and nesting as creative arts, learning opportunities, and immensely rewarding adventures.
I’ve gotten ahead of myself, rolling right into my fourth bullet. I’ve waxed on elsewhere about the importance of embracing creative risk (especially Carpe Midlife), so I’ll abbreviate for now as the verdict—whether or not I’ve yet inspired anyone—is still out. But I’m endeavoring to immerse readers in the totality of a project like this, capturing some of the million and one small decisions that ultimately define the way everything gradually coalesces into a finished work. I’m genuinely hoping that the cost of creativity will seem paltry in comparison to the mountain of reward. If not, I’ll try harder! And the emphasis on rehabilitation, and repurposing, and upcycling, and adaptive reuse,… these are not intended to be preachy moralizing. Sure, they’re vital in this day and age, but they’re also immensely satisfying. Don’t trust me. Try it out!
My last bullet point is a goal that I’ve already drifted into. Throwing myself into the current rehab and maintenance projects, even as an ideas and oversight participant rather than a hands-on participant has reinvigorated my enthusiasm for Rosslyn Redux manyfold. I’m swimming in documents and artifacts and photographs and notes—sooo many notes—from the last sixteen years of Rosslyn’s rehab ad infinitum (and the life / lifestyle we’ve enjoyed as a result of Rosslyn’s benevolence). I’m attempting to curate the ones worth curating and attempting to dispose of the rest, distilling from a decade and a half journey the parts worth assembling into an exhibit of sorts. It’s a work in progress, and it’s still a daunting distance from any sort of unveiling. But I’m alive with purpose and enthusiasm. And the vision is clearer each day. So, I’m guardedly optimistic that a few more months on this same trajectory and I’ll be ready to articulate clearly and definitely what I’m creating. And why. If only I can maintain the level of acute attention, if I can sustain this peculiar appetite for sifting and collaging and jettisoning the sentimental that too often pervades the true and beautiful bits, then I will have accomplished my biggest goal of all. Let the journey continue to unfold…
This handsome bobcat (Lynx rufus) was photographed with game camera in one of our meadows on January 2, 2016. Friend and Essex neighbor John Davis mounted the camera about a month ago. In addition to photographs of deer, turkeys, and rabbits he discovered four images (from two separate occasions) of this healthy bobcat. In fact, he thinks it might possibly have been two separate bobcats.
“What joy to have such lovely creatures on our lands!” ~ John Davis
It truly is absolutely wonderful. I can’t believe that this sly feline has been slinking around in our back woods/meadows, and yet I’ve never one spied him/her. Not even a footprint. Here’s the sequence of three consecutive photographs as the bobcat walked past the trail camera.
Bobcat photographed on Rosslyn trail cam January 2, 2016.
Bobcat photographed on Rosslyn trail cam January 2, 2016.
Bobcat photographed on Rosslyn trail cam January 2, 2016.
I look forward to other surprises over the course of the winter. Thanks, John, for another Rosslyn safari installment!
Bobcat Behavior
Wondering about the elusive, rarely witnessed but apparently [increasingly] common bobcat? I did. I do. How does Lynx rufus traverse our wild (and not-so-wild) places without being more frequently documented?
The bobcat is crepuscular. It keeps on the move from three hours before sunset until about midnight, and then again from before dawn until three hours after sunrise. Each night it will move from 2 to 7 mi (3.2 to 11.3 km) along its habitual route. This behavior may vary seasonally, as bobcats become more diurnal during fall and winter in response to the activity of their prey, which are more active during the day in colder months. (Source: Wikipedia)
[Update: I revisited this post on the Essex on Lake Champlain community blog with a few ruminations and evolutions.]
Crepuscular is a cool (but decidedly un-onomatopoetic) word for the gloaming. Twilight. Cocktail hour… And this, neighbors, might have something to do with the bobcat’s invisibility. Although cocktail hour also seems to be the most oft reported Champy sightings, so maybe my logic is off! Maybe the peripatetic… behavior of Lynx rufus is a more likely explanation for infrequent sightings. Always on the move. Sly. Stealthy. (Source: Lynx rufus (Bobcat) Sighting in Essex)
Hoping to learn more about the habits of our local bobcats, and possibly (fingers, arms, and eyes crossed) we’ll even get lucky and report another bobcat sighting…
Is Home a Place, a Feeling, or a Relationship? (Source: Geo Davis)
In the days since publishing “What Makes a House a Home?” I’ve been fortunate to enjoy follow up exchanges with many of you. It seems that we all have some compelling notions of homeness! Thank you for reaching out and sharing your often personal stories. I’ve mentioned to several of you that I’d like to dive in a little deeper if/when you’re inclined. This inquiry is foundational to Rosslyn Redux, and I believe that the objective is less to answer the question and more to propagate more questions, to seed wonder and reflection.
There are so many little forays into this residential quest, that I’ve decided to follow up with three follow-ups posts that intrigue me and that have been percolating with renewed vigor since sharing the previous post. I’ll jumpstart the three with a preliminary introduction of sorts, maybe more of a welcome, today in seeding the three questions as one. Is home a place, a feeling, or a relationship? I’m hoping to intersperse more narrowly focused posts on each of the three questions with progress reports on the icehouse rehab (It was a big day today!) and the boathouse gangway. And I’m hoping to hear from you if you feel moved to share your thoughts on any of the three. I suspect that many of us consider all three to be connected in some way to our ideas of home. More one than another?
Two weeks ago I shared a tickler for this post on Instagram, a short reel offering an aerial view of Rosslyn that I filmed with my drone last summer. It feels meditative to me. Like a soaring seagull wondering, wandering…
https://www.instagram.com/reel/ClB-1F8AFiK/
I think for now, I’ll leave the question of home as place gently gyring in the updraft to be picked up again soon in another post.
Is Home a Relationship?
In the digital sketch / watercolor at the top of this post, the almost abstract blue green wash hopefully feels a little bit like a dream. Maybe a memory. Something fuzzy and abstract in my memory. It’s a barn, actually a barn quite near Rosslyn in the hamlet of Boquet. But it’s not necessarily that barn I’m depicting. It’s many barns including the barns at Rosslyn (carriage barn and icehouse) the barns at The Farm where I spent a few formative early years, and the barn(s) that I hope to one day, same day build or rebuild. In short, for reasons I’m still unraveling, homeness for me includes a feeling of an old, perhaps even an abandoned farm, with barns. More at that anon.
Is Home a Place, a Feeling, or a Relationship? (Source: Geo Davis)
Is Home a Feeling?
Sticking with digital sketches / watercolors for a moment, that black and white image above was actually made a few years ago to represent Griffin, our Labrador Retriever before Carley. But like the barn, my rudimentary skills at representation allow it to merge into all of our dogs including Tasha, who we had before Griffin, and even Griffin-the-1st, a long ago predecessor and the namesake for our more recent Griffin. That’s a bit jumbled, but it’ll do for now.
Why dogness as a way to explore homeness? Well, frankly, for me, part of the feeling of home is that it’s where my dog is. And when we’re migratory between the Adirondacks and the Southwest seasonally, our dog is with us, maintaining a sense of home even though we’re temporarily nomadic. More on that now soon.
Is Home a Point of Overlap Place, Relationship, and Feeling?
I’ll leave you with this follow-on because I find that it’s surprisingly challenging to tease apart the elements of homeness. Intrinsic to all three, is my beautiful bride, Susan. She is my home in a way that embodies place, relationship, and feeling. What about you?
