Maine

‘Joy shivers in the corner’

“Aunt Karen in the Rocking Chair,’’ by Edvard Munch, 1883

Here where the wind is always north-north-east
And children learn to walk on frozen toes,
Wonder begets an envy of all those
Who boil elsewhere with such a lyric yeast
Of love that you will hear them at a feast
Where demons would appeal for some repose,
Still clamoring where the chalice overflows
And crying wildest who have drunk the least.

Passion is here a soilure of the wits,
We're told, and Love a cross for them to bear;
Joy shivers in the corner where she knits
And Conscience always has the rocking-chair,
Cheerful as when she tortured into fits
The first cat that was ever killed by Care.

‘‘New England,’’ by Edwin Arlington Robinson (1869-1935), famed poet who grew up on the Maine Coast

Old High School (1870-1969) in Gardiner, Maine, which Robinson attended.

In Lewiston, ‘critical inquiry’ and weird Kora Temple

Fires of Blaine County” (oil on canvas), by Amelia Hawkins, in the show “Senior Thesis 2024,’’ at the Bates College Museum of Art, Lewiston, Maine.

— Image courtesy: Bates College Museum of Art

The museum explains:

The museum says that the show is “the culmination of eight students' time at the college. Soon-to-be graduates Amelia Hawkins, Yuri Kim, Avery Mathias, Miguel Ángel Pacheco, George Peck, Olivia Rabin, Emma Upton and Joseph Vineyard present their work in painting, performance, digital animation, mixed media and more. The emphasis of the program is on creating a cohesive body of related works through sustained studio practice and critical inquiry.’’

The Kora Temple, in Lewiston, built in 1908 by the Ancient Arabic Order, Nobles of the Mystic Shrine, a fraternal organization affiliated with Freemasonry and are known for their charitable works such as the Shriners Hospitals for Children, which provide free medical care to children. The Kora Temple serves as a ceremonial space and clubhouse for the Shriners. The building was added to the National Register of Historic Places in 1975 for its distinctive Moorish-inspired architecture.

Portion of large mural in the Kora Temple’s dining hall.

— Photo by SarekOfVulcan

A history of loafers (shoes)

Note that these were made in El Salvador!

The G. H. Bass & Co. shoe factory, in Wilton, Maine; from a 1914 postcard. Built on Wilton Stream in 1904 and known as No. 1, the factory closed in 1998. The factory made the famous Bass Weejun loafers.

Excerpted from a New England Historical Society article

“The penny loafer may epitomize preppy New England style — after all, John F. Kennedy wore penny loafers on the golf course. And John Cheever, chronicler of New England preppy angst, was known for his wrinkled khakis, blue-and-white striped Brooks Brothers shirt and Size 6 penny loafers.

“But the penny loafer didn’t originate in New England.

“Nonetheless, New England played an important role in the development of the penny loafer, in large part because of its long shoemaking tradition.

“The region’s indigenous people made moccasins by hand for centuries. They also provided the design inspiration for the penny loafer (more about that in a bit). Nine years after the Pilgrims landed, a cordwainer arrived to make shoes for the colonists.’’

Hit this link to read the whole article.

Mind-reading to smooth relations

Colorized phot of Saran Orne Jewett’s house in South Berwick, Maine, taken in 1910.

Lookout Point, in Harpswell Maine.

— Photo by Kyle MacLea

“We were standing where there was a fine view of the harbor and its long stretches of shore all covered by the great army of the pointed firs, darkly cloaked and standing as if they waited to embark. As we looked far seaward among the outer islands, the trees seemed to march seaward still, going steadily over the heights and down to the water's edge.”

xxx

“Tact is after all a kind of mind-reading.’’

— Sarah Orne Jewett (1849-1909) in her novel Country of the Pointed Firs, like much of her work set on the southern coast of Maine

Success enough?

Skylands, now Martha Stewart’s summer place in Seal Harbor, Maine, was built for auto mogul Edsel Ford.

“Don't give up. Defend your ideas, but be flexible. Success seldom comes in exactly the form you imagine.”

So the pie isn't perfect? Cut it into wedges. Stay in control, and never panic.’’

― Martha Stewart (born 1941), lifestyle mogui

‘The domestic sea’

“Looking West” (photomontage on aluminum) in Deer Isle, Maine, artist Jeffrey C. Becton’s show “Framing the Domestic Sea,’’ through May 5, at the New Bedford Whaling Museum.

— Image courtesy of Mr. Becton

The museum says that Maine-based Mr. Becton is inspired by the “history of New England, maritime scenes and contemporary ecological issues. His work, digital montages of coastal scenes and New England views, is printed on aluminum and evokes a surreal, dream-like quality that is simultaneously unsettling and - for those who call New England home - very familiar.’’

The French connection

Percentage of the population, by county, speaking French at home in New England. This information does not discern between specific demographics of New England French, Quebec French, and dialects of immigrants from France. This does not include French Creole languages, which are spoken by a sizable population in southern New England urban centers. Percent of residents speaking French (2015)   10–15%   5–10%   1–5%   0.5-1%

Graphic by Simtropolitan

Roman royalty

“Sofia Loren, Rome, 1954” (silver print) by George Daniell (1911-2002), in group show at the Maine Museum of Photographic Arts, in Portland, through Jan. 31. The photographer and painter was a resident of Trenton, Maine, near Bar Harbor, from 1960 to his death.

The features the work of 26 photographers, including Ansel Adams, George Daniel, and Linda Connor and aims, the museum says, to explore "the themes of portraits, still life, interiors, sea scapes, landscapes and collage.’’

The Trenton Lighthouse, in Trenton, Maine, is not a lighthouse but a business building, now containing a restaurant, The Beacon.

— Photo by Billy Hathorn

The four-masted schooner Margaret Todd; Bald Porcupine Island is beyond the pier and the Bar Harbor Inn is to the right.

— Photo by NewTestLeper79

‘Connected life’

From Falmouth, Maine-based artist Allison Hildreth’s show “Darkness Visible,’’ at the Center for Maine Contemporary Art, Rockland, through Jan. 7.

She has said:

“Our earth is a connected fabric of life, interdependent, a product of a long evolutionary process. Bats, the animals that weave the night sky in a chaotic flight, are, for me, the epitome of the wildness of nature.’’

Casco Bay from Falmouth, Maine in 1905.

Rendering of Fort Casco, in Falmouth, in 1705.

Can’t keep

Canada geese

“Some woman every year

Must catch her breath and weep

With so much wildness near

At all she cannot keep.’’

— From “The Geese,’’ by May Sarton (1912-1995), prolific Belgian-American writer. In the last 22 years of her life, she lived in a house (since demolished) on the coast of York, Maine.

To read/listen to the whole poem, hit this link.

The Wiggly Bridge, in York, is the smallest pedestrian suspension bridge in the United States.

—Photo by Bigmacthealmanac

But it usually doesn't usually last long

“Infatuation” (acrylic, wallpaper on canvas), by Allison Bremner, at Bates College (Lewiston, Maine)) Museum of Art.

— Image courtesy of artist, who is of Alaskan Native American background.

Hathorn Hall, at Bates College

— Photo by Odwallah

Textile mills in Lewiston along the Androscoggin River about 1910. The city became a major industrial center in the mid-19th Century, first with sawmills, then with textiles. Money from the latter helped found Bates College, in 1864. Many of the workers were of French-Canadian background, and French used to be widely spoken in the city.

Sadly, Maine’s second largest city, after Portland, became nationally know for Robert Card’s mass shooting there on Oct. 25. that killed 18 people in the normally peaceful place.

Make sure the ax is well-cooked

—Photo by Rhododendrites

“Everybody remembers the recipe for cooking a coot: put an ax in the pan with the coot, and when you can stick a fork in the ax, the coot is done.’’

— John Gould (1908-2003), Maine-based (mostly humorous) writer, in “They Come High,’’ in New England: The Four Seasons (1980)

Coot are coastal birds that hunters in New England shoot at in the fall, despite their tough, oily flesh.

Enough to start working on a canoe?

Painting by Elaine Farmer, the Amherst, N.H., based painter who owns White Birch Fine Art.

Birchbark canoe at Abbe Museum, in Bar Harbor, Maine

— Photo by Billy Hathorn

At the Amherst, N.H., common, with the sort of Civil War statute you see in so many New England towns.

At the University of Southern Maine, ethics training in artificial intelligence

The McGoldrick Center for Career & Student Services, left, the Bean Green, and the Portland Commons dorm at the University of Southern Maine’s Portland campus.

— Photo by Metrodogmedia

AI at work: Representing images on multiple layers of abstraction in deep learning.

— Photo by Sven Behnke

Edited from a New England Council report:

“The University of Southern Maine (USM) “has received a $400,000 grant from the National Science Foundation to develop a training program for ethical-research practices in the age of artificial intelligence.

“With the growing prevalence of AI, especially such chatbots as Chat-GPT, experts have warned of the potential risks posed to integrity in research and technology development. Because research is an inherently stressful endeavor, often with time constraints and certain desired results, it can be tempting for researchers to cut corners, leaning on artificial intelligence to imitate the work of humans.

“At USM’s Regulatory Training and Ethics Center, faculty are studying what conditions lead to potential ethical misconduct and creating training sessions to make researchers conscious of their decisions and thoughts during their work and remain aware of stressors that might lead to mistakes in judgment. Faculty at USM believe this method will allow subjects to proactively avoid turning to unethical AI assistance.

“‘We hope to create a level of self-awareness so that when people are on the brink of taking a shortcut they will have the ability to reflect on that,’ said Bruce Thompson, a professor of psychology and principal at the USM ethics center.  ‘It’s a preemptive way to interrupt the tendency to cheat or plagiarize.’’’

Tom Conway: OT rules put lives at risk and strain families

The paper mill town of Madawaska, Maine

—Photo by P199

Via OtherWords.org

She only wanted a few hours at her dying mother’s bedside. But her bosses at Twin Rivers Paper, in Madawaska, Maine, forced her to work overtime on her day off. About an hour and a half into the mandatory shift, the woman’s mother died.

Workers are battling harder than ever to end this appalling mistreatment. They’re fighting back against mandatory overtime requirements that strain families to the breaking point and put lives at risk.

“It’s definitely caused a lot of heartache,” said David Hebert, financial officer and former president of United Steelworkers (USW) Local 291, one of three USW locals collectively representing about 360 workers at Twin Rivers.

USW members have long warned paper companies about the need to increase hiring and training to keep facilities operating safely. Yet some employers prefer to work people to the bone. Workers at Twin Rivers work a base shift of 12 hours — and each can be drafted for an additional 12-hour shift every month.

Even worse, a 12-hour shift can be extended with six hours of mandatory overtime without warning. Workers are often forced to pull multiple 18-hour days a week, especially when winter cold and flu season exacerbates the company’s intentional understaffing.

“People really hold their breath at the end of their shift,” explained Hebert. The coworker who lost her mother, for example, learned at the end of an 18-hour shift that she’d have to report the following day for overtime.

Other workers experience their own heartaches when unpredictable schedules leave them unable to make plans with their families or force them to miss graduations, anniversaries, birthday parties, or holiday gatherings.

“Family is the only reason we go into these places. I want to spend time with them, too,” said Justin Shaw, president of USW Local 9, which represents workers at Sappi’s Somerset Mill, in Skowhegan, Maine.

“You’ve got many people who work seven days a week,” with some required to log 24 hours at a stretch, Shaw said. “If we had better staffing levels, we wouldn’t have people working outrageous hours.”

Besides the toll it takes on family life, excessive overtime compounds risk in an industry that exposes workers to hazardous chemicals, fast-moving machinery, super-hot liquids and huge rolls of paper.

“It only takes a split second to lose a finger, an arm, or a life,” Shaw said, warning that extreme fatigue also puts workers at risk while commuting. “I’ve had many drives home that I can’t recall over half the ride. We have had many individuals in the ditch or wreck vehicles trying to keep up with the demands.”

A bill in Maine would limit mandatory overtime to no more than two hours a day and require employers to provide a week’s notice before mandating extra hours or changing a worker’s schedule.

The legislation places no caps on voluntary overtime, nor would it apply to true emergencies when a mill needs extra hands to avert “immediate danger to life or property.” But it would end the capricious usurping of workers’ lives that now occurs because the industry refuses to hire enough people.

Union members also continue to drive change at the bargaining table. Some workers are pushing to create “share pools” of workers whose role is to fill in where needed on a given shift.

“Share pools” virtually eliminated mandatory overtime at the Huhtamaki facility in Waterville, Maine, where workers once had to put in so many hours that some slept in their cars rather than commute home, said Lee Drouin, president of USW Local 449.

Drouin said other paper companies also need to realize that change is essential for workers but benefits them as well. “The mills have to understand, this is not going to go away,” he said. “To me, it makes a lot more sense to have happy workers and safe workers.”

Tom Conway is the international president of the United Steelworkers Union (USW). This article was produced by the Independent Media Institute and adapted for syndication by OtherWords.org.

The menace of moving

1912 postcard

“In the kind of New England I’m from, you are expected  to stay and marry someone from New England – well, Maine, actually – so I think it was seen as a betrayal when I left for New England, which has been my refuge.’’

 

--Elizabeth Strout (born 1956 in Portland, Maine) is a Pulitzer Prize-winning novelist. She is married to former Maine Atty. Gen. James Tierney and divides her time between New York City and Brunswick, Maine.

‘Sinister phoenixes’

From Chilean-born American artist Rodrigo Valenzuela’s show “Weapons,’’ at the Center for Maine Contemporary Art, Rockland, through Sept. 10.

The gallery says:

“Rodrigo Valenzuela’s exhibition incorporates works from two connected and ongoing photographic series, ‘Weapons’ and “Afterwork,’ that are integrated into floor-to-ceiling wood frame structures installed along with ceramic pieces by the artist.

“Through a patina of nostalgic fantasy, Valenzuela’s ‘Weapons’ series offers views of imaginative performances that might take place on a job site once workers depart. Knives, screws, rope, and chains—the tools of many trades—appear reconfigured as sinister phoenixes, ramshackle sculptures, and animistic creatures of dreams. ‘Afterwork’’ presents pictures of somber, silvery rooms filled with mechanical contraptions and fog, possibly from the sweat left hanging in the air after a long day’s work. Valenzuela’s works are animated by a dream-like quality and driven by an urgent human and political exploration: that of global economics and the human dimensions of labor, considered in the wake of neoliberalism.’’

Heading toward Rockland Breakwater Lighthouse

— Photo by Needsmoreritalin

‘Dread revelations’

“Maine Woods” (oil paint), by Marsden Hartley (1877-1943)

Mount Katahdin in October

MajorRogers

“Oh that we might be left alone for hours, to watch the changes of the landscape and hear the secret voice and dread revelations of these magnificent mountains! There are thoughts, deep and holy, which float through one’s mind, as, gazing down upon such a scene, one contrasts the smallness of man with the magnitude of God’s works, and in the weird silence contemplates the perishable of this world with the everlasting hills.

— From Canoe and Camera: A Two Hundred Mile Tour Through the Maine Forests, by Thomas Sedgwick Steele (1845-1903), American painter, photographer, writer and outdoorsman