*On the beach with a Block Island Double Ender*
*— Watercolor by William T. Hall*

Block Island is a small landmass shaped like a pork chop 16 miles off southern Rhode Island. It’s where my father was born, in 1925. His entire family were fisherfolk. He got his start fishing at age 10.

Historically, the old salts depicted in the marine art and stories of the past were men, but the wives, mothers and daughters of island fishermen were essential to the life of any Block Island family that made its livelihood from the sea.

Of course, as usual, women saw to all the usual unsung details of daily life in the home and spiritual life in the community, but little remembered today is the extent of the decisions made, and physical labor provided by island women, and how important that was to their family’s survival and success.

Long before my father was born, the indigenous tribes and white settlers on the island took to the sea for their livelihood. They first had to overcome the major geological disadvantages of the island. The high bluffs and open ocean exposure on the southeast corner of the island were perilous, and to the north at North Light were the shallows off Sandy Point that still claim lives of surf fishermen today. These were daunting and dangerous obstacles. For many years the shores of Block Island challenged captains with hazardous approaches and no reliable anchorages.

Progress through adversity

Consider the challenge of designing boats to use at Block Island. For many years, the “perfect Block Island boat’’ was dreamed about, prayed about and then modeled out of wood. It occurred to the early settlers that the way to create a seaworthy vessel on a beach had already been invented by the Celts and Vikings . With a foggy notion of history and woodworking skills barely sufficient to fabricate a house, the new islanders patched together their own unique surf-wise boat. The design was not beautiful, but it was practical because it was based on two important borrowed principles from sea-faring people many hundreds of years before.

It should be sturdy, with two sharp ends for launching from beaches and surviving a following sea when landing. It should have a sail arrangement

best described as “simple and flexible.” It allowed for two small sails, which when reefed down, looked like oversized canvas handkerchiefs. These design considerations proved essential to moving the boats around rocks, then from high cresting waves down onto safe sandy beaches.

The most important aspect of this design was that the boats could be launched into the surf and retrieved from the brine by a small group of men and, yes, women, often with the help of oxen, horses, mules and mechanical hauling contraptions called “capstans”.

This homely workboat was a dory called “The Block Island Double Ender”. It could be launched from the beach into the morning surf and then brought back at night through a different tide, to be stored high up in the dunes safe from northerly storms. This kind of boat varied from 22 to over 36 feet long and was weighted by fieldstones for ballast that would be thrown overboard to balance the weight of a daily catch. The boat was destined to become the mainstay workboat for the island from before the American Revolution but eventually, of course, was made obsolete by steam and gasoline engines.

The stories of the colorful fishermen who manned these seaworthy boats earned them a certain notoriety with many world-class sailors. The boats form a deep mythology as colorful as the exploits of the gods on Mt. Olympus. They had names such as Dauntless, Island Bell and Bessie, I, II and III. There were perhaps as many as 50 boats built and launched from coves around the island. One such beach is even named “Dories Cove”.

For over 200 years, they faced Neptune’s furry and a vengeful Old Testament God, as they fished a bountiful sea around Block Island. Then, over just a few decades, the boats melted away. The end of these boats was ignoble. Finally abandoned by the careless hands of progress, their exposed ribs and rigging melted into the island’s underbrush and rose-hip bushes. It was said by a Civil War veteran, “Only those who had witnessed soldiers left unburied after a battle can feel the shame at the sight of this wasteful demise”.

The holiest of testaments paid to Block Island Double Enders was repeated by the captains who had fished in them, “With all that time and everything they went through, only one boat was ever lost to the sea”. Is it true? As an owner of an original reproduction of this wonderful boat I can only say, “It is possible”.

All along, women have played a part in the history of the island, its boats and its success as an island community. In the early history, when a man’s hand heaved at the side rails, or the harnesses of the

oxen, female voices as well as men’s voices were heard shouting as they all pulled in unison with the men. Every able-bodied fisherman, woman, boy and elder was needed to launch and retrieve the boats of the fleet each day.

Women also helped with maintenance, sail repair, outfitting, marshaling supplies, cleaning the catches, gathering and managing bait, all while feeding their families and sharing child-care.

Some women were on the beaches for much of the day waiting for the boats to return. And some women might ride the family mule back to work in their gardens, feed livestock and hang laundry while they kept an eye on the horizon for their family boat to come into sight. Some made stews and chowders and roasted potatoes in the coals of beach fires while they waited. Some cared for the oxen and set wire minnow traps in the salt estuaries. Some dug quahogs for bait from the wet sand on the lower parts of the beaches for the next day’s bottom fishing. \

When the boats were out the women were assisted by old men and school-age boys and girls, before and after school. Young girls helped the working mothers by babysitting the youngest children, tending stew pots, mending nets and making clothing. The women’s contribution would be universally appreciated on Block Island and earn them an equal place in the fabric and soul of the island.

At the time when my father was young many things had changed. Commercial fishing had become totally the purview of men, often symbolized artistically by heroic images of stalwart captains on mammoth commercial fishing boats. By this time, most daughters of fishing families were educated and provided such services on the island as teaching, nursing, real estate, bookkeeping, town business, cab driving and tourism, to mention only a few.

Regardless of these changes, appreciation of women’s role on the island continued. Quiet acknowledgement by giving shares to those who contribute became a tradition in my father’s generation called simply “The Widow’s Fish”.

Although difficult to translate directly, it means always making sure that all the elder and/or widowed women still living on the island would receive fish from every day’s catch. It was standard for every fisherman and farmer on the island to share part with those in need with little fanfare. Sermons in the island’s churches, grace said at daily meals, dedications at public benedictions and remembrances of departed fishing folks were often framed around the notion of “sharing and appreciation,’’ including the crucial role that women played.

I remember this quiet homage paid by my father during our summer vacations, from Vermont, on the island. Although he had migrated off the island to work as a salesman and gentleman farmer, we vacationed on the island, visiting relatives and friends and fishing daily on boats owned by relatives.

One day we had caught more flounder than we could eat, and my father made sure to separate out the catch into portions or “shares”. In that bounty was a special offering, something he called, “The Widow’s Fish”. He always put that portion aside during the filleting. All the harbor’s fishermen had one or two additional people outside their immediate families who were living alone and as Father would say “are living a little closer to the bone than we are”.

In those days, he’d leave the boat and go up the dock to the phone booth by Ernie’s Restaurant. There he’d call a prospective list of names to ask if they could use some flounder, bluefish, fluke, black bass and occasionally

Swordfish. (The last were getting scarce in those days.) I remember the names on his list -- Ida, Annie Pickles, Aunt Annie Anderson, Blanche Hall and Bea Conley. These were elderly ladies whose homes we often visited on the way home with pails of filleted fish.

As I later found out, my father, when he was a teenager, had often crewed as a deck hand or swordfish striker for the husbands of the ladies we visited. All or most of the men were captains who operated fishing boats that Dad had worked on before he went into the Army, in 1944. It wasn’t until later in life I found out there was an added depth to my father’s gratitude.

In those old days these women had found a way to stretch many of their own family meals so that my father, orphaned at age seven, could stay for dinner.

These grateful ladies of the island formed a matriarchal umbrella of love and service to each other and their community. They always remembered my grandmother Suzie Milliken, whom some fondly called “Sister Suzie,” through a custom they referred to as “calling her to the room’’. The expression was used from Victorian times to mean connecting with a departed soul in a séance. As they thanked and hugged my father, they tearfully called him by the boyhood nickname Suzie had given him.

“Billy,’’ they assured him, “Suzie, would be proud of you for remembering to bring us our fair share”.

William T. Hall is a painter, writer and former advertising agency creative director based in Florida and Rhode Island.