Anything goes

‘Poetic License,’’ by Patricia Busso, at New Art Center, Newton, Mass.

She says in her Web site:

“In particular, I am fascinated with how visually pleasing nature’s randomness can be; the way a row of trees is capriciously arranged, how chance groupings of flowers  color a field, the geometrical patterns created by plots of land in a countryscape, the seemingly arbitrary twists and turns branches choose to make - configurations that present themselves with confidence; like there could be no other way.’’   

And learn to accept it

In Vermont’s Green Mountains looking south from Mt. Mansfield, which, at 4,393 feet, is the highest in the range.

— Photo by Mike9827

“Life has all sorts of hills and valleys, and sometimes you don’t end up doing what you had your heart set on, but sometimes that’s even better.’’

— Ruth Buzzi (born 1936), actress and comedian. She was raised in the village of Wequetequock. in Stonington, Conn., in a rock house overlooking the ocean at Wequetequock Cove. Her father owned Buzzi Memorials, a stone-sculpture business that her older brother Harold operated until his retirement, in 2013.

Slow, but no fossil-fuel emissions!

Map of South Hadley Canal, the earliest such commercial canal in the U.S. It was opened in 1795 and was closed in 1862 because of competition from railroads.

Timothy Dwight (1752-1817), who served as president of Yale (1795-1817), traveled through New England and New York beginning in the 1790s. The first volume of his four-volume account of his travels included this description of the South Hadley (Mass.) Canal.


 Download PDF.

About five or six miles above Chequapee [Chicopee] we visited South Hadley Canal. Before this canal was finished, the boats were unloaded at the head of the falls, and the merchandise embarked again in other boats at the foot.

The removal of this inconvenience was contemplated many years since, but was never seriously undertaken until the year 1792, when a company was formed, under the name of the proprietors of the locks and canals in Connecticut river, and their capital distributed into five hundred and four shares. . . .

A dam was built at the head of the falls, following, in an irregular and oblique course, the bed of rocks across the river. The whole height of the dam was eleven feet, and its elevation above the surface, at the common height of the stream, four. Its length was two hundred rods.

Just above the dam the canal commences, defended by a strong guard-lock, and extends down the river two miles and a quarter. At the lower end of the canal was erected an inclined plane. . . .

The outlet of the canal was secured by a sufficient lock, of the common construction. When boats were to be conveyed down the intended plane, they passed through the lower lock, and were received immediately through folding doors into a carriage, which admitted a sufficient quantity of water from the canal to float the boat. As soon as the boat was fairly within the carriage, the lock and the folding-doors were closed, and the water suffered to run out of the carriage through sluices made for that purpose. The carriage was then let slowly down the inclined plane. . . .

The machinery, by which the carriage was raised or lowered, consisted of a water-wheel, sixteen feet in diameter, on each side of the inclined plane; on the axis of which was wound a strong iron chain, formed like that of a watch, and fastened to the carriage.

When the carriage was to be let down, a gate was opened at the bottom of the canal; and the water, passing through a sluice, turned these wheels, and thus slowly unwinding the chain, suffered the carriage to proceed to the foot of the plane by its own weight. When the carriage was to be drawn up, this process was reversed. The motion was perfectly regular, easy, and free from danger. . . .


From Travels in New England and New York, Volume1, by Timothy Dwight

Remnant of the canal

Where to cool off a hot public life

At The Fells

1905 postcard

Excerpted and edited from an article on The New England Historical Society Web site.

“John Hay called himself ‘the winner of all life’s prizes.’ He had fame, wealth, family, accomplishments, friends—and The Fells.

John Hay was one of President Abraham Lincoln’s two secretaries, or ‘Lincoln’s boys.’ He also ran the New York Tribune, the biggest and most influential U.S. newspaper of its day. He served as secretary of state under William McKinley and Theodore Roosevelt. And as a member of an elite literary circle, he wrote bestselling fiction and poetry.

“On top of all that, he married an extremely rich woman.

“They had homes in New York and Washington. But the stress of being a rich, famous, successful statesman and journalist could get to be too much. So in 1891, John Hay did what wealthy gentlemen did: He built a summer home in the cool northern countryside, along Lake Sunapee, in New Hampshire.

“He called it The Fells….”

To read the whole article, please hit this link.

Wear sandals

“Craggy Rock Beach” (oil on line), by New Castle, N.H.-based painter Grant Drumheller, this month as the York (Maine) Art Association.

In New Castle, the Wentworth by the Sea resort hotel in 1920. It was built in 1874 and is one of New England’s few remaining Gilded Age establishments of its kind.

Eat beef and melt

“Patty Melt” (watercolor), by Jane Goldman, in her show “Global Warming Series (2018-2023),’’ at Umbrella Arts Center, Concord, Mass., through May 5.

She explains:

“Global Warming Series (2018-2023)’is an ongoing series of watercolor monotypes on 22” x 30” Arches Hot Press watercolor paper. Dark humor sets the tone, inspired by silent-film comedians, especially the great Buster Keaton (above). In this context, the silent comedians represent all of us, experiencing global crises in slow motion. Like them, we watch the planet beset with catastrophe in ever faster motion.

“Some pieces in the series personalize the consequences of our behavior. The painting here depicts Keaton, burger in hand, amidst glacial melt, due in part to global beef consumption. Other works, such as ‘Clean Air Act,’ point out the obtuseness of ignoring our present reality. And in some works, such as ‘Teetering on the Edge,’ our Everyman is depicted in a situation right before catastrophe occurs, implying that there’s still time to alter the outcome.’’

'A furtive look'

An altered look about the hills;
A Tyrian light the village fills;
A wider sunrise in the dawn;
A deeper twilight on the lawn;
A print of a vermilion foot;
A purple finger on the slope;
A flippant fly upon the pane;
A spider at his trade again;
An added strut in chanticleer;
A flower expected everywhere;
An axe shrill singing in the woods;
Fern-odors on untravelled roads, —
All this, and more I cannot tell,
A furtive look you know as well,
And Nicodemus' mystery
Receives its annual reply.

‘‘April,’’ by Emily Dickinson (1830-1886) of Amherst, Mass.

Chris Powell: Mental illness isn’t a problem of shortage of treatment

At Connecticut Valley Hospital, in Middletown, Conn., a public hospital operated by the state of Connecticut to treat people with mental illness. Opened in 1868, it was historically known as Connecticut General Hospital for the Insane and is in a 100-acre historic district listed on the National Register of Historic Places.

MANCHESTER, Conn.

When confronting a problem most people instinctively look first for its cause and try to eliminate it.

But such logic doesn't apply so much in government, as indicated by government's response to what is reported to be an explosion of mental illness among young people.

Teachers and school administrators throughout Connecticut say many more of their students are seriously troubled these days.

The commissioner of the state Mental Health and Addiction Services Department, Nancy Navaretta, reported the other day that one in seven teenagers is mentally ill and that suicide is the second-leading cause of death for 10- to 24-year-olds. State government's child advocate, Sarah Eagan, added that 48 Connecticut children between the ages of 10 and 17 killed themselves from January 2016 through September 2022.

So members of Congress, including Connecticut's U.S. Reps. Rosa DeLauro and Jahana Hayes, are sponsoring what they call the Expanding Access to Mental Health Services in Schools Act, which aims to put counselors or clinics in more schools. Educators and social-service people in the state are cheering them on.


But even if the legislation was enacted immediately it would be many years before it had any effect on the problem. For the legislation just sets up a federal agency for overseeing the training, qualifications, assignment, and compensation of school mental health counselors.

The legislation would appropriate no money at the outset. Money might be appropriated eventually, though like everything else at the federal level these days, money for mental health would have to get in line behind money meant to continue the war in Ukraine and support illegal immigrants.

So government might be far more helpful if it investigated the causes of the increasing mental illness of young people. Exactly why are so many more young people becoming mentally ill?


At a recent gathering at a school in Waterbury, Representative DeLauro attributed the mental illness epidemic to bullying, stress, isolation, and social media. 

But young people always have faced bullying, stress, and isolation. Youth is the primary time of life for apprehension, depression, and mental disturbance. So why have the causes of mental illness in young people become so much worse in recent years? 


Schools are notorious for failing to act effectively against bullying, perhaps because political correctness does not permit seriously disciplining students for misconduct. With a little political courage, school policy could be changed.

Social media are new, but parents can disconnect their children from social media by restricting their use of mobile phones. 

Other causes of stress among children and society generally are easy to see, at least if you're not a member of Congress. In recent years inflation has been worst with the top two necessities of life, food and housing. Food banks and housing authorities in Connecticut report that food and housing inflation have made many people desperate and that even fully employed people are having much trouble supporting themselves and their families. 

But few members of Congress, and none from Connecticut, take any responsibility for inflation and the stress it has put on society. Members of Congress are content to congratulate themselves for the patronage goodies they are distributing that have been purchased not with tax money but borrowed money, money that the country never will be able to repay.


Parenting was already declining throughout the country long before government's inflationary response to the recent virus epidemic. A third or more of American children are growing up without a father in their home, thus lacking the moral, emotional, and financial support a father ordinarily would provide. Impoverishing many of these households, inflation has weakened the parenting of many more children.

Mental illness among young people might be addressed directly by aiming at its causes -- by knocking inflation down sharply and ending the welfare system's subsidies for childbearing outside marriage. 

But instead advocates of the Expanding Access to Mental Health Services in Schools Act envision a lot more government employment and regulation, as if the bigger problem is the shortage of treatment for mental illness and not the explosion of mental illness itself.

Chris Powell has written about Connecticut government and politics for many years (CPowell@cox.net).  

William T. Hall: Surviving the swarm

Text and watercolor painting by William T. Hall, a Florida-and-New England-based painter and writer

As we endured one of our family weeding sessions in our vegetable garden in Thetford, Vt., my grandfather said abruptly, and with strong emphasis, the four-letter “S-word”. It was enough of a surprise to lead grandmother to remind him that children were present. “Jesus, Mary and Joseph, Harold, your language – please!”

We all stared at Gramps as Grandmother looked over her glasses at my mother, who was smiling at her while fighting with a deep-set weed. Mother’s garden glove was full of a dozen or so vanquished weed specimens dropping dust as she looked over to me, rolling her eyes. I could see my reflection in her sunglasses as my little brother, Steve, leaned in and whispered to me , while wagging his index finger at the ground, “Naughty-naughty, Gramps” 

“What’s wrong, Dad?” my mother asked. “You okay?”, she asked, as she pulled on another stubborn weed.

He said nothing as he set his jaw and unfolded his tall frame upward from his kneeling position like a camel standing up in the desert. He was looking at the top of his wrist as if to check a watch that wasn’t there. In that hand he held a big red Folger’s coffee can half-filled with kerosene into which he had been dropping hundreds of Japanese Beetles. These he had picked meticulously from the leaves of his potato plants. This sort of thing defined one of his methods for guarding against pests in the modern age of pesticides. “Better to pick’m off and get’m before they get you.”

After he had stood up fully, he looked perplexed, as if he didn’t believe what had just happened. He looked at my grandmother and said one word,

“Bee.”

“Sting?“ My mother asked.

“No he just scratched me a — warning”.

This we all knew from being on the farm. When you work around bees they are busy, too, gathering honey. Unless you create too much commotion around bees or otherwise make them too anxious, a human usually gets a (warning) a scratch before a (sting).

A warning was when a bee dragged his stinger across your skin to give you what felt like a little hot spark. A full “sting” was, of course, much more painful and was delivered with a bee’s ultimate strength, resulting in the hooked end of the stinger deep under the skin with the bee’s abdomen still attached to feed the stinger with venom. This added to your pain immensely. For this one extreme act, the honeybee pays with its life, and for allergic recipients, the sting can cause anaphylactic shock. To that person multiple stings all at once could cause death.

To my grandfather this “scratch” seemed like an unprovoked over-reaction, and he didn’t understand what he had done to deserve it.

Harold had been stung several times in his life but he understood that each time he’d done something provocative. When he saw that there were lots of other bees around us not harming us, it seemed as if nothing menacing had happened, so what was the big deal? Grandpa was insulted. He shook his head. My mother, teasing her father, asked him, “Dad, did you make a mistake? You know the difference between a Japanese beetle and a bee right”?

We all laughed and looked at my grandfather, wanting to gauge his reaction to my mother’s tease. He held the coffee can in one hand and laughed politely at the ribbing. He was always a good sport.

“I’m glad I didn’t sit on him”, he said and got a double-good laugh from all of us.

But as he was looking at us he was still wondering why there seemed to be so many bees everywhere in the air. They swirled like embers from a campfire. It was a busy confusion in orange, black and tan reminding him of when he attended his mother’s beehives at their turkey farm in Walpole, Mass., years before.

“Gramps! What’s is that?” asked my brother Steve he excitedly pointed to the sky above and behind Gramp’s silhouetted upper torso. 

“Harold!” My grandmother shouted sharply, my grandfather and the sky above him reflecting in her glasses.…

Gramps looked at her perplexed as he turned to see what she meant. Something amazing and frightening was happening in the sky behind him. He had never seen anything like it before, and nor would he ever again. He looked back in awe at a jet-black roiling cloud in the sky over the Connecticut River. “It’s bees!”Then suddenly,“ SWARM!” he yelled as he set down his coffee can.

“What the heck!?” My mother exclaimed as she stood up, dropping her spade and the weeds from her gloves. 

“Gloria, Quick help me up!” my grandmother yelled. My mother said frantically, in a commanding voice, to Steve and me, “Kids, get your grandmother up and head to the house”! As we helped our 200-pound grandmother to her feet, our mother rushed to her father’s side asking. “What should we do? Dad?”

They both looked up at the cloud and now we all could hear the sound of the bees, which mimicked the sound of a breeze blowing through tree leaves.

My grandfather mumbled something unintelligible in Swedish under his breath.

“Pop, in English!”, my mother asked in a slightly panicked tone. “What should we do?”

Without taking his eyes off the swarm, Gramp said, “Yes, get Lillian to the house, but don’t run, Ok? Just walk fast and don’t panic. We must not spook the swarm. Look at them! They look pretty riled alread.”

“Harold, you be careful,’’ my grandmother said.

“We’ll be fine, ’’ he said.

“Somewhere in the middle of the swirling mass is the Queen. Bees will do anything to protect their Queen. They’re looking for a new hive. These other bees down here are the scouts”.

Our farm was on the floor of Vermont’s Upper Connecticut River Valley about a football field’s length from the river and a mile’s south of the village center of Thetford. Our barn was in the middle of our property between two 25-acre fields, with two big shade-maple trees taller than any other trees next to the barn, which was four stories tall, from the basement to the peak of the open hayloft.

The whole barn structure was basically open. It was June, and the barn was empty of hay. There was one window in the peak and an open hay door in the end. The barn was designed to suck air in at the basement pig stalls on the backside of the building and to direct it inward and upward out through the big open barn doors and hay doors in both peaks. Those doors were 16 feet tall and were at the top of the earthen ramp that led to the second story. The ramp was designed for horses pulling full hay-wagons up into the big main hay-storage room. The main room was enormous, about 40 by 60 feet and 45 feet to the peak, where the hay trolley track and unloading-fork still hung covered in cobwebs.

Grandpa knew that the swarm of bees high in the air above our barn probably saw what looked like the perfect place for new beehive — a place with the perfect size and shape to house what seemed like a zillion tired and desperate bees and their queen.

My grandfather could see this in the few moments he had to scope out the problem and he understood that the welcome mat would be out until he could close up the barn to keep out these unwelcome guests.

Gramps now could hear the house windows being slammed down shut and the garage door being closed in the long shed off the main house. The ladies had done their job. The house would be a secure hiding place for the family no matter what happened in the other buildings. Grandpa’s carpentry shop, the hen house, a little stone milk-house and our barn were the only possible manmade homes for the bees.

The area directly above and behind the barn was a jet-black fuzzy moving mass. The swarm covered the whole width of the house, barn and shade trees. The scene reminded Gramps of the sand-and-soil clouds during the 1930’s Dust Bowl. Like those roiling clouds, the cloud of bees had a dark and menacing look.

Like a monster in the sky, the cloud seemed to lurch forward, north up the river, and then roll back on itself down the river as if there was dissension in the cloud of bees.

The air around us was still filled by a blizzard of bees, but even though we were occasionally scratched by the frantic scouting insects, we did not feel in danger. We could see their dilemma. We did not want to make their plight any worse than it was, but they could not have our barn, from which it would have taken months and lots of money to dislodge them. Worse, many bees would die in the removal. Maybe the bees could feel this, or maybe they were totally unaware of us, but they continued to leave us alone.

Gramps knew that with any flood of living things — humans, cattle, turkeys, fish and so on, only so many of them could get through a restricted opening at once without catastrophic results.

They had only their instinct to protect and nurture their queen. Each individual bee was devoted to its queen first, then secondly to the whole hive. Beyond that simple reality they had not evolved.

They were incapable of leaving her but confused about where to take her. At this point they seemed at a crossroads.

“Billy, go to the basement of the barn and close all the pig-pen doors down there,’’ Gramps told me. “Make sure the bees can’t get through any cracks. Throw hay at the bottom of the doors to close up the gap. Then meet me at the front ramp and we’ll close the big doors together. We can get to the windows last. Listen to me.…If this all turns bad, then get to the house and your mother will know what to do”.

“Where are you going, “ I asked.

“I’ll go to my shop and see if I can close it up. It’s wide open”.

“What about the chickens,” I asked.

“I don’t know? They eat bugs. They’ll have to fend for themselves”.

The cloud of bees was hanging over the rear pasture and getting closer to the barn by the minute, casting a dull shadow as when a cloud causes a shadow in the valley. I did get stung when I closed the last pig-pen door and I put my hand right on a bee. It hurt, but I sucked on the spot and kept moving.

When I got to the big doors in the front of the barn, grandfather was there. He’d rolled the burn-barrel up the ramp, saying that would be a last resort. He would start a smudge fire in the barrel to smoke out the incoming bees if it became necessary. The thought of any open fire in our barn made us both sick to think about. “Would you really risk that”, I asked my grandfather.

“No. I don’t think so, but we’ll see”.

As we rolled the barrel into place, something in the changing sky caused a shift on what had been sun-lit ground to scattered shadows there. With that change came a slight drop in temperature.

The moment seemed to signal something within the swarm. The bees moved. They roiled northward, and then suddenly their pace increased and they seemed to rise up farther. There was a bulge in the front of the cloud as it headed up river. The swarm passed over the iron bridge a half mile away at East Thetford and continued headed north, up the river. Where there had been millions of scouting bees at our farm, in a few minutes there were none.

The swarm eventually disappeared into far northwestern New Hampshire, where they were believed to have taken up residence in the stacked-up wrecked automobiles in a large junkyard abandoned years before, and then, finally, in spectacular Franconia Notch.

Little by little, one of those companies that catches and ships bees were able to capture many of the insects and transport them to areas of the U.S. that suffered from a deadly fungus that still endangers bee populations today.

Where the bees came from in such large numbers and why they took flight has never really been determined.

'Reflection of the presence of time'

“Untitled” (various media on panel), by Cambridge, Mass.-based George Shaw, in his current show, “Architecture of Time,’’ at Galatea Fine Art, Boston.

Mr. Shaw says:

“Architecture has always fascinated me because of its presence and how it modifies our experience of place and time. The pieces in this show are a reflection of this and are intended to be a meditation on objects as a reflection of the presence of time. Time is essential to our sense of being, yet it is intangible and only manifests itself in our memories and objects.’’

Another invader from the South

From ecoRI News

Cliff Vanover knew something was wrong one night while traveling in upstate New York in 1995. His palms got itchy, then he got hives, then ‘my body was one solid hive,’ he said. He had gone into anaphylaxis, a severe allergic reaction.

“His wife had antihistamines for her own allergies, so he took some and the symptoms subsided. But then it happened again. ‘I had no allergies at the time,’ Vanover said, so he went to an allergist, who did a series of scratch tests. The Charlestown, R.I., resident learned he was allergic to beef, lamb, and pork.

“Although there was no name for it three decades ago, when Vanover contracted it, he had what is now known as alpha-gal syndrome. It’s caused by the bite of a lone star tick, and it’s going to become a lot more prevalent here in New England {as they move north}.’’

To read the full article, by Bonnie Phillips, please hit this link.

Eat, drink and watch the world go by

Friday night diners at DePasquale Plaza, on Federal Hill, Providence’s Little Italy

Adapted from Robert Whitcomb’s “Digital Diary,’’ in GoLocal24.com

“The human backside is a dimension architects seem to have forgotten.’’

“It is difficult to design a space that will not attract people. What is remarkable is how often this has been accomplished.”

-- William H. Whyte

 As the weather warms, it would be nice if there were more public places in cities and towns in which to sit down and watch the world go by. I thought of this when reading about the research and opinions of the great American sociologist and urbanist William H. Whyte (1917-1999). He was one of the most brilliant American writers on  how cities work and how they don’t.

To Whyte having many places to sit outside, on comfortable benches and sturdy chairs (maybe bolted to the ground), such as in vest-pocket midtown parks and on sidewalks shaded by trees, makes cities more inviting and prosperous. They draw people to local stores and restaurants and make people want to live in such communities.

One good thing that came out of the worst of the COVID crisis is the proliferation of eateries offering outdoor dining, which around here means mostly mid-April to late October. This has turned out to be so popular that it ought to encourage cities and towns to create more places where people can sit outside on nice days and watch the different varieties of humans. Such sites are sweet additions to lives that so often can be harsh.

Omar Ocampo: Extreme wealth inequality means extreme political inequality

—Photo by ThirstyFish.com

Progressive era cartoon

Via OtherWords.org

BOSTON

A new, disturbing milestone has been confirmed in the latest Forbes World Billionaires List. The U.S. billionaire class is now larger and richer than ever, with 813 ten-figure oligarchs together holding $5.7 trillion.

This is a $1.2 trillion increase from the year before — and a gargantuan $2.7 trillion increase since March 2020.

The staggering upsurge shows how our economy primarily benefits the wealthy, rather than the ordinary working people who produce their wealth. Even worse, those extremely wealthy individuals often use these assets to undermine our democracy.

Billionaires have enormous power to influence the political process. They spent $1.2 billion in the 2020 general election and more than $880 million in the 2022 midterms. Even when their preferred candidates aren’t in office, our institutions are still more likely to respond to their policy preferences than the average voter’s, especially when it comes to taxes.

The vast majority of Americans, including 63 percent of Republicans, support higher taxes on the wealthy. Yet our representatives consistently fail to deliver. A quintessential example was Donald Trump’s 2017 tax cuts for corporations and the rich — the most unpopular legislation signed into law in the past 25 years.

Though backers promised the tax cuts would benefit all Americans, a recent report by the Center on Budget and Policy Priorities revealed that the primary beneficiaries were the top 1 percent.

The good news? Those cuts are set to expire after next year. So we’ll have an opportunity for a new tax reform — one that raises more money for the services we rely on while protecting our democracy from extreme wealth concentration.

President Joe Biden’s Billionaire Minimum Income Tax (BMIT) is one promising proposal. By raising the top tax rate and taxing unrealized capital gains, the BMIT seeks to repair a system where billionaires pay a lower average tax rate than working people. It would raise $50 billion a year over the next decade, making our tax system a bit more equitable.

Senator Ron Wyden’s (D.-Ore.) similarly named Billionaire Income Tax (BIT) is more straightforward. It would target asset gains that can easily be tracked by the public, like a billionaire’s stock holdings in a publicly traded company.

Another idea? A well-designed progressive tax on billionaire wealth.

A modest 5 percent tax on all wealth above $1 billion would raise more than $244 billion this year alone. And that’s likely an underestimate, since some billionaires keep their wealth concealed from Forbes. Wealth-X, a private research firm, identified 955 billionaires in their  Census last year, 142 more than what Forbes just registered.

A wealth tax wouldn’t hurt investment and innovation — most innovation in the U.S. is driven by people worth less than $50 million. But for billionaires, it would function “as a constraint on their rate of wealth accumulation,” according to Patriotic Millionaires, a group of wealthy people who support higher taxes on the rich.

Of course, a wealth tax alone isn’t enough to ensure the safety of our democracy. We also need campaign finance reform to limit political spending. And stronger labor unions could prevent extreme concentrations of wealth from occurring in the first place. Unions not only increase the collective power of workers, they also close wage gaps between workers and CEOs.

Finally, we need better tax enforcement. The Inflation Reduction Act gave the IRS more resources to track down wealthy tax dodgers, and now the agency is projecting an unexpected windfall in tax revenue over the next decade.

That’s a great first step towards strengthening our democracy and democratizing our economy. Now let’s take the next step and fix the tax code itself.

Boston-based Omar Ocampo is a researcher for the Program on Inequality and the Common Good at the Institute for Policy Studies.

Omar’s headshot

And in the five Manchesters

Carlton Fisk

“ I suddenly remembered all my old absent and distant Sox-afflicted friends (and all the other Red Sox fans, all over New England), and I thought of them – in Brookline, Mass., and Brooklin, Maine; in Beverly Farms and Mashpee and Presque Isle and North Conway and Damariscotta; in Pomfret, Connecticut, and Pomfret, Vermont; in Wayland and Providence and Revere and Nashua, and in both the Concords and all five Manchesters, and in Raymond, New Hampshire (where Carlton Fisk lives), and Bellows Falls, Vermont (where Carlton Fisk was born), and I saw all of them dancing and shouting and kissing and leaping about like the fans at Fenway – jumping up and down in their bedrooms and kitchens and living rooms, and in bars and trailers, and even in some boats here and there, I suppose, and on back-country roads (a lone driver getting the news over the radio and blowing his horn over and over, and finally pulling up and getting out and leaping up and down on the cold macadam, yelling into the night), and all of them, for once at least, utterly joyful and believing in that joy – alight with it.’’

From Five Seasons (1977) by Roger Angell (1920-1922), author and a long-time New Yorker writer, on baseball and other topics. The reference is to the Red Sox winning the American League championship in 1975.

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

Ambiguous charms of domesticity

“Martindale” (wood, fabric, vintage wallpaper, latex paint, polymer clay, solvent transfer, encaustic), by Boston-based artist Chelsea Revelle, in the show “Perspectives; Art from MFA {Boston Museum of Fine Arts} Staff’’ at the Copley Society of Art, Boston, through May 4.

— Photo courtesy Copley Society of Art

Revelle uses assemblage and embroidery to examine themes of the home, childhood play and the psychological impact of domesticity.

‘I will stop somewhere’

"Now I will abandon the route of my life

as my shadowy wives abandon me, taking my children.

I will stop somewhere. I will park in a summer street

where the days tick like metal in the stillness.’’

— From “Mr. Wakeville on Route 90,’’ by New Hampshire-based poet Donald Hall (1928-2018). Route 90 includes the Massachusetts Turnpike.

To read the whole, hit this link

‘Cleaning out of one’s closet’

‘‘Curtain,’’ by Yohanna M. Roa, in the group show “Second Time Around,’’ at the Jamestown (R.I.) Arts Center, through June 15.

The curator says:

‘‘‘Second Time Around’ brings together contemporary works that reimagine past stories, memories, objects, materials, images, and artistic practices in ways that further their meaning for the present and future. The exhibition scope emerged in conversation surrounding the change of seasons and the practice of cleaning out of one’s closet. This yearly ritual involves revisiting artifacts that contain the traces of personal histories and passing them on to new owners who will give them new life. Considered in relation to the urgent need to promote everyday practices of sustainability at the local level, this deceptively mundane custom takes on much greater significance for our world now.’’

Windmill in Jamestown, built in 1787 to grind corn.

What causes earthquakes in the Northeast?

An 18th-Century woodcut taken from a religious tract showing the effects of the Cape Ann Earthquake, on Nov. 18, 1755, whose magnitude is believed to have been at 6.0-6.3 on the Richter scale.

From The Conversation

It’s rare to feel earthquakes in the U.S. Northeast, so the magnitude 4.8 earthquake in New Jersey that shook buildings in New York City and was felt from Maryland to Boston on April 5, 2024, drew a lot of questions. It was one of the strongest earthquakes on record in New Jersey, though there were few reports of damage. A smaller, magnitude 3.8 earthquake and several other smaller aftershocks rattled the region a few hours later. We asked geoscientist Gary Solar to explain what causes earthquakes in this region.

There are many ancient faults in that part of New Jersey that extend through Philadelphia and along the Appalachians, and the other direction, past New York City and into western New England.

These are fractures where gravity can cause the rock on either side to slip, causing the ground to shake. There is no active tectonic plate motion in the area today, but there was about 250 million to 300 million years ago.

The Ramapo Fault, in green, is a major fault zone in New Jersey. The red dots indicate earthquakes of magnitude 3 or higher, reported by the U.S. Geological Survey and National Earthquake Information Center. Alan Kafka/Wikimedia

The earthquake activity in New Jersey on April 5 is similar to the 3.8 magnitude earthquake that we experienced in 2023 in Buffalo, New York. In both cases, the shaking was from gravitational slip on those ancient structures.

In short, rocks slip a little on steep, preexisting fractures. That’s what happened in New Jersey, assuming there was no man-made trigger.

Magnitude 4.8 is pretty large, especially for the Northeast, but it’s likely to have minor effects compared with the much larger ones that cause major damage and loss of life.

The scale used to measure earthquakes is logarithmic, so each integer is a factor of 10. That means a magnitude 6 earthquake is 10 times larger than a magnitude 5 earthquake. The bigger ones, like the magnitude 7.4 earthquake in Tawian a few days earlier, are associated with active plate margins, where two tectonic plates meet.

The vulnerability of buildings to a magnitude 4.8 earthquake would depend on the construction. The building codes in places like California are very strict because California has a major plate boundary fault system – the San Andreas system. New Jersey does not, and correspondingly, building codes don’t account for large earthquakes as a result.

Earthquakes are actually pretty common in the Northeast, but they’re usually so small that few people feel them. The vast majority are magnitude 2.5 or less.

The rare large ones like this are generally not predictable. However, there will likely not be other large earthquakes of similar size in that area for a long time. Once the slip happens in a region like this, the gravitational problem on that ancient fault is typically solved and the system is more stable.

That isn’t the case for active plate margins, like in Turkey, which has had devastating earthquakes in recent years, or rimming the Pacific Ocean. In those areas, tectonic stresses constantly build up as the plates slowly move, and earthquakes are from a failure to stick.

This article, originally published April 5, 2024, has been updated with several smaller aftershocks felt in the region.

‘Hot Corners’ in North Adams

At Amy Yoes’s site-specific installation “Hot Corners” at the Massachusetts Museum of Contemporary Art, North Adams, Mass., through November.

The museum says the show “transforms a 142-foot space in MASS MoCA’s Building 6 into a multi-room, immersive complex with thematic forms and functions. Each of the installation’s five rooms—the Foyer, the Parlor, the Library, the Theatre, and the Drawing Room—are designed with custom-built mobile furniture acting as shifting set pieces for a variety of functions including artmaking, socializing, reflection, and performance. Rather than static and fixed, the installation is a set of evolving propositions and possibilities. Combining Yoes’a passion for architecture, period rooms, interior design, and decorative arts in a dynamic environment ‘Hot Cornersserves as a destination space for interactive participation’’