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NEGenWeb Project
Resource Center-
On Line Library
Compendium of History Reminiscence & Biography of Western Nebraska
Scotch-Irish ancestry. His grandfather, James, was born in Ireland and coming to America, he was a soldier in the Revolutionary war. Our subject's parents, Thomas and Catherine (Wright) Rankin, were farmers in Pennsylvania.
Joseph Rankin was reared on a farm in his native state and was given good educational advantages. Later he entered Monmouth College, at Monmouth, Illinois, where he completed his junior year.
When our subject was twenty-two years of age, in 1871, he came west to Nebraska and became one of the early pioneers of eastern Cass county. The entire family came at this time and our subject conducted his father's farm and business for years. He made trips to western Nebraska as early as 1882 and helped establish a large ranch in Blaine county. North Loup was the nearest railroad town at that time and Mr. Rankin had a long way to go for supplies and material, eighty-five miles. Many a night on these weary trips he has slept under his wagon in all kinds of weather and miles from the nearest habitation.
Joseph A. Rankin and Miss Elizabeth Peart were married in 1891. She was the daughter of Samuel and Esther (Gibson) Peart, who were Pennsylvania farmers.
After his marriage our subject spent one year in Cedar county. In 1900 he came to Blaine county and settled on his present ranch on the North Loup river, entering a homestead and buying other land. His good house, barns and other improvements, prove that he has laid the foundations of permanent wealth and prosperity. Mr. Rankin is a man of excellent business qualifications and education and wields a strong influence for public good.
--->o<----
ELMER JOHNSON
Prominent among the younger agriculturists of Kimball county is the gentleman above mentioned, who is owner of a well-improved estate in Kimball. His postoffice address is Crossbar, which is located on his farm, and Mrs. Johnson is the present postmistress, filling the office to the satisfaction of all.
Elmer Johnson was born in Sweden, June 1, 1877, and at the age of three years came to America with his father, mother, three brothers and one sister. They first located in eastern Nebraska, arriving there in the spring of 1880, remained for six years, then moved to Wyoming. While living in Saunders county, Nebraska, the family suffered a sad loss in the death of one daughter and one son.
In 1888 our subject came alone into Kimball county, and in 1899 filed on a homestead on northwest quarter section 26, township 13, range 58, proved up on it, and later took a Kinkaid homestead in the same section. He worked faithfully, and by good management and industry succeeded in building up a good home and farm. He now has sixty acres under cultivation, raises good crops of small grains, vegetables, etc. His place is well improved and equipped with first-class buildings. He deals in stock to quite an extent, running at the present time forty-five head of cattle and seventy-five horses. He has a fine property, and richly deserves his success and high standing.
Mr. Johnson was married at Kimball, Nebraska, on February 6, 1901, to Lillian Deacher, who was born in northeastern Nebraska and reared there. Mrs. Johnson's parents are now living in Oklahoma. To our subject and his wife have been born the following children: Rena, Kenneth, Mamie and Andry, all bright and interesting youngsters, who bid fair to be a great help to their parents when they grow up. Portraits of both Mr. and Mrs. Johnson will be found on another page.
Mr. Johnson's father resides in Pine Bluffs, Wyoming, while his mother is dead. Our subject is a Republican in politics, and is active in local affairs, having served as county assessor for two terms, from 1901 to 1903, and in 1907 was elected county commissioner, entering upon his duties as such January 1, 1908.
One brother of our subject, Eric Johnson, is also a resident of Kimball county, coming here in 1906, locating on a Kinkaid homestead on section 10, township 13, range 58. He is married and has three children, while another brother, Conrad, residing on section 22, township 13, range 58, is unmarried, and the possessor of a good farm. All are held in the highest esteem as worthy citizens and good neighbors.
--->o<---- CAPTAIN HENRY W. SHORT
To the present visitor of the agricultural district of western Nebraska, a pleasant sight in the well improved farms and highly cultivated tracts, greets the eye, and it is hard to conceive of the transformation that has taken place in the country within the past quarter of a century. The gentleman above named, settled in Saunders county in 1871, and the following year homesteaded in Marshall town-
ship, Clay county, taking up one hundred and sixty acres, also three hundred and twenty acres as tree claim, and on the latter planted 13, 778 trees, this being the third tree claim to be taken up in Nebraska. He has been one of the foremost men in the region and much of the prosperity which has come to the residents of the locality has been brought about through the efforts of just such men as Mr. Short; men who have given liberally of their time, money and influence in building up and developing the natural resources of the county.
Mr. Short is a native of Leicestershire, England, and came to America in 1848, and after landing in New York spent two years there. He then came west and was educated at the schools of Chicago, where his parents settled. They took up their residence at the corner of Clark and Harrison streets, and the district, which is now one of the busiest and most closely congested spot in that city, was then occupied by small cottages inhabited by families from foreign countries who had settled there, and many of them laid the foundations of good fortunes.
Our subject attended the public schools of Chicago, and early read law, as he was ambitious to make that his life work. He was admitted to the bar in Nuckolls county, Nebraska, in 1876, opened an office at Nelson, and practiced there for twenty-five years, up to 1903.
In 1862 Mr. Short enlisted in the First Illinois Light Artillery and served in this in the Fifteenth Army Corps. He was with the Army of the Tennessee, and took part in twenty-two battles from Vicksburg to Nashville. His regiment lost one thousand four hundred and eighty-one men during the war. At the close of the war he was transferred to Bridges' battery.
After the war he returned to Illinois. Mr. Short settled in Franklin county, Nebraska, in 1871. He organized the Alexander Guards and was captain of this company, called Company H. First Nebraska, until after the Pine Ridge and Wounded Knee Indian outbreaks, his regiment taking an active part in these wars.
Captain Short's son, Ed. M., attended the state university of Nebraska and was admitted to the bar before he was twenty-one years of age.
Our subject has a good practice throughout Franklin and the adjoining counties, and he is a well-read conscientious, safe and honest councillor (sic) and trial lawyer, gaining the confidence of all by his sound judgment and good advice.
In 1865 our subject was married to Miss Fanny E. Smelt, of Ogle county, Illinois, and to them have been born the following children: Ed. M., now superintendent of schools for this county, this being his third term. He was formerly principal of the schools of Franklin for seven years, and also a teacher in Nuckolls county. The second son, Henry E., resides at Topeka, Kansas. Mary, wife of Rev. Keefer, was also a teacher before her marriage. George Ernest, of Nelson, Nebraska, is in the mail service at that place. Carroll W., a pharmacist, living at Los Angeles, California. Grace, wife of P. M. Snyder, of Burwell, Nebraska, now of Okanogan, Washington, formerly a teacher in this vicinity, and Leslie, a graduate of the Franklin high school, now at home.
Captain Short is a prominent Grand Army of the Republic man, also an Ancient Order of the United Workmen and Woodman, and member of the Mystic Legion. He has been notary public for many years, and an active Republican, and is now serving his second term as city attorney.
JOHN K. ENGELHORN
John K. Engelhorn, one of the best known early settler in western Nebraska, resides on his valuable estate in Hays township, Kearney county, Nebraska, retired from all active pursuits. Mr. Engelhorn has resided in this section for the past thirty years, and during this time has become one of the representative citizens of the community, highly esteemed by everyone.
Mr. Engelhorn is a native of Baden, Germany, born in 1842. He came to America with his parents, Matthias and Anna Engelhorn, who settled in Allemakee county, Iowa, on a farm. There he was raised, and in 1863 enlisted in the Civil war, joining the Ninth Iowa Cavalry, Company E. He served as a private until February 4, 1866, and after the close of the war was on the detached service in Arkansas principally, and afterwards in Texas. Nearly all of the time he was engaged in the service of the government he was constantly in skirmishes, and never received a wound, but his health suffered from the rough life of a soldier and hardships to which he was exposed and he was unfortunate in having lost the sight of his left eye through an overdose of medicine. Two brothers, Matthias and Thomas, were also in the war, the former a member of the twelfth Iowa Infantry, and
the latter in the navy. After the close of the war he returned to Iowa and engaged in farming for several years, then came to Nebraska, settling in Sherman township, Kearney county, in 1878. Here he homesteaded one hundred and sixty acres and broke this up, remaining on it for nine years, then moved to Minden in 1887, where he bought forty acres in Hays township. He sold this farm in Sherman township in 1895. While living there he was supervisor of his township, also served on the county board for many years, and since coming to Minden has acted in the same capacity for three terms, also held the office of assessor for two years.
Mr. Engelhorn was married in 1867 to Miss Sophia Willch, daughter of Philip and Elizabeth Willch, natives of Hesse, Germany, and the parents never left that land. She came to this country in 1867. Mr. and Mrs. Engelhorn have no children.
Mr. Engelhorn is a member of the Grand Army of the Republic post in Minden, and has passed through all the chairs of that society, now acting as assistant conductor. His wife belongs to the Women's Relief Corps here and both are members of the Lutheran church.
--->o<---- PAYSON B. BIGELOW
Payson B. Bigelow, one of the best known residents of Harrison, Sioux county, Nebraska, is classed among the prominent old settlers of that region. Mr. Bigelow is an enterprising merchant of that town, carrying on a flourishing general merchandise business, and had built up an excellent trade throughout this locality.
Mr. Bigelow is a native of Rock Island, Illinois, born in 1851. His father, Benjamin F., was from Vermont, of good old "Yankee stock," and he married Rachel Fairly, both being of American blood. When our subject was a boy of one or two years of age, the family moved to Iowa, settling in Davenport, where our subject grew up and received a good education. When Payson was fourteen yeas old, he went to Jasper county, Iowa, with his parents, where they lived up to 1880, and from there to Adair county, most of this time being spent in following farm work. In 1888 Mr. Bigelow came to Sioux county and filed on a homestead, pre-emption and tree claim, all located about six miles from the town of Harrison. His first house there was a log cabin, and there he worked hard to improve his property and build up a home. He had experienced all kinds of hard times during the early days in this section, losing crop after crop by the drouths (sic) and meeting with disappointments in plenty. He became pretty well discouraged, and was at times tempted to give up the struggle, but determined to stick to his farm, and so kept on improving his place, slowly at first, but gradually getting ahead a little. In 1893 he had the misfortune to be burned out, losing almost everything, so that he was obliged to start all over again.
Mr. Bigelow was from the first quite heavily engaged in the cattle business, and in this way managed to make a living and lay by a little money after the poor years had passed. He lived on the ranch for about eleven years, then sold the place out and came to Harrison locating here in 1899. He established his present business, and has done well since starting here, in the nine years he has been operating, building up a good patronage and has gained an enviable reputation as a worthy citizen and good business manager.
In February, 1892, Mr. Bigelow was married to Miss Emma E. Stewart, of Greenfield, Iowa, daughter of John and Minerva Stewart, both of American stock. They have no children. Our subject and his family occupy a pleasant and comfortable home, and are highly esteemed in their locality and liked by all who know them. He is prominent in local affairs, and has held office at different times, serving as village trustee for a number of years. He was one of the original organizers of the Republican party in this section, acting as chairman of the Republican county committee for several years.
--->o<---- ROBERT G. HALL
The office of county judge of Rock county, Nebraska, was bestowed upon this gentleman, and he discharged the duties of the position with rare fidelity and ever-increasing popularity. Mr. Hall was appointed in 1906, and was deservedly honored and esteemed by his fellowmen. He held the office until January, 1908.
Mr. Hall is a native of this state, born in Blair, January 17, 1885. He is a son of James Hall, a contractor, farmer and ranchman, who settled in Nebraska in 1860 and built up a good home here. He located first in Washington and was in Omaha several years. He is of Irish stock, a native of Pennsylvania. His wife was Miss Lucinda Gorton, a descendant of English settlers who came to America during colonial times.
Our subject is the second member in a family of three children, and when he was seven years old his parents settled in Rock county, where they afterwards lived in different parts of the county, he receiving a good education.
Mr. Hall, although a very young man to hold such an important office, gained the respect and confidence of the people by his strict integrity and sterling qualities, and bids fair to become one of the leading public men of this section of the country. He is now associated with his father in the contracting business and lives at Bassett, Nebraska. He is a Republican in politics, and fraternally, belongs to the Ancient Free and Accepted Masons, Independent Order of Odd Fellows, Ancient Order United Workmen, and Modern Woodmen of America lodges of Bassett.
--->o<---- WILLIAM H. WINTERER
William H. Winterer was born in the city of Milwaukee, Wisconsin, December 11, 1858. His father was Anton Winterer, a native of Baden Baden, Germany, where he was reared to young manhood and then emigrated to America, while his mother, who was Barbara Hirsch in her maiden days, was a native of Bavaria. They were married in Philadelphia about 1852. The family came to Milwaukee in the fall of 1863 and later settled in the thick hardwood timber country in Vernon county, Wisconsin, and lived there during the civil war, in which the father served as a member of the Forty-seventh Wisconsin Volunteer Infantry during the last eighteen months of the war. He resides in Hillsboro, Wisconsin, retired from active life. They were among the very earliest pioneers in the locality where they settled. The woods were so thick that they had to cut a way through a mile of timber for the wagon to pass, there being only a footpath to their destination. Here our subject was reared on a timber farm. becoming inured to the hard work of grubbing and logging. Schools were few and far between, our subject being obliged to walk three miles to the school house and he therefore received only a limited common school education. In 1879 he went to Rollins county, Kansas, but that country was evidently not satisfactory, as the next year he came to the North Platte river region in Nebraska. He engaged to work with several "cow outfits" and was with M. Burk & Son, and also John Bratt & Company for some time. His duties brought him to the vicinity of Keystone, Nebraska, and being pleased with the country, he decided to locate on a farm and build up a home. The country was very new and crude, but our subject saw possibilities which he thought promised great things if one expended energy and industry to develop them. He spent several years roughing it over western Nebraska both winter and summer and had ample opportunity to judge the country. He saw buffalo roaming the prairie in 1881 and wild game was abundant.
Mr. Winterer settled on his present farm in section 34, township 15. range 37, in 1883. He put up a sod house and a stable and made other necessary improvements. He worked out for the settlers, breaking prairie and putting up hay, thus earning enough for a living and a little more. He saved his money and bought fourteen head of cattle, which was his start in the cattle business. He has now a fine bunch of two hundred and twenty-five head of cattle and fifty head of horses. He took land that other settlers seemed not to want and has made a grand success, having three hundred and twenty acres in the North Platte river valley, and one thousand two hundred and eighty acres back in the hills where our subject's home is located. He has numerous fine trees, running streams of water, has a good orchard of apple and plum trees and a variety of small fruits. His buildings are good and he has a house and ranch of which he is justly proud.
William H. Winterer was married December 10, 1889, to Miss Louisa M. Cantrill, a native of Menominee, Dunn county, Wisconsin. She was the daughter of William Cantrill, a ship carpenter and a pioneer of that state; he formerly resided in Halifax, Nova Scotia, and in New York.
Our subject has had quite a varied experience since locating in Keith county. He has had many discouragements and losses; once he was burned out, losing barns, sheds, and out-houses, and then there were the panicy (sic) times of 1893 and later; also the years of drouth (sic), when the grass grew so sparsely that it took miles of range to support his bunch of cattle and horses. In spite of all these unfortunate events, however, he stuck to his business and has attained fine success as the result of his labors. Once, when he was out in the Dismal river country, McPherson county, he found the body of a Mr. Board, one of a hunting party, who had become separated from his party and had died from fatigue and sickness. He had been missing for ten days and much fruitless search had been made for
him. The body was buried in a plain wooden box by our subject and a few others.
Mr. Winterer has been most actively interested in the affairs of his community and helped to establish the first school district on his side of the river. He has held various offices of trust and responsibility and has proven a capable and efficient public officer. He is a Democrat in politics. He is a member of the German Evangelical church, the Modern Woodmen, the Odd Fellows and with his wife, of the Rebekah lodge. He is a man of strong characteristics and a worthy citizen of the state.
--->o<---- FRANK P. FISHER
Frank P. Fisher, one of the representative agriculturists of Keya Paha county, Nebraska, owns and operates a large farm in section 12, township 33, range 24, where he has built up a fine establishment and is recognized as one of the successful and prosperous citizens of the county. A view of the ranch house and numerous outbuildings, with grove and orchard are presented on another page of this volume.
Mr. Fisher was born in the village of Studena, Bohemia, June 20, 1846. The father, Joseph Fisher, was a tailor by trade and in 1856 the family sailed from Bremen in the ship Sophia, and after a voyage of thirty-eight days landed in New York. In October they reached Chicago, where the father sought in vain for work for some weeks and also had the same disappointment in Milwaukee. Returning to Chicago he secured a small amount of work, which was so well done that he was thereafter given only fine work to do. The next spring he removed with his family to Johnson county, Iowa, locating on a farm where he lived for twenty years and where our subject received a common school education until fifteen years of age, while assisting his parents in carrying on the farm. In 1884 he came to Nebraska, settling in Keya Paha county, where he took a homestead. He arrived, here in April, during a big snow storm, driving from Ainsworth, and his first impressions of his new home were not altogether favorable. Not being able to sell his quarter section in Iowa to advantage until 1886 the family did not come west until that year. However, he set to work at once putting up a frame house, and gradually improved his farm adding a timber claim, on which he also filed, proving up on both. He met with severe loss during the drouth (sic) periods, and two crops in succession were ruined in the years 1894-5. He went through hail storms when everything on his farm was beaten into the ground three different years. After these hard times he began to have good crops, and engaged in stock raising in addition to mixed farming, and eventually developing a fine farm and home, building a substantial two-story house, numerous barns, sheds and outbuildings. He has six hundred acres of land in one piece, one mile southwest of Norden, and one hundred and sixty acres in another piece located three miles northwest. He owns a house in the village where he has made his home for the past five years.
Mr. Fisher was married in Johnson county, Iowa, October 19, 1871, to Miss Catherine Weyvoda, a native of Bohemia, whose father, Frank Weyvoda, was a weaver and mason by trade in that country, and who came to America with his family in 1866. Children were born to Mr. and Mrs. Fisher, who are as follows: Mary, married William H. Gunsul, and is living at Lake Andes, South Dakota, the mother of three boys, Harry, Frank and Ralph; the second son, Frank Fisher, is farming on the home place, is married, and has one child, Elinor; Emil, the third son, is a farmer living in Idaho, also married; Will, married, engages in farming on the home place with Frank; Libbie, now Mrs. John G. Betsel, her husband being a merchant of Norden; Francis and Edmund are living with their parents in Norden.
Mr. Fisher has always been one of the public spirited men in his locality. He helped to organize the first schools in the neighborhood, and bought the logs and helped to build the first schoolhouse. He served as school moderator for several years, and was also justice of the peace for about nine years. He is one of the foremost men in all matters which tend to advance the agricultural and educational interests of his community, and lends his influence for the betterment of conditions wherever needed. Politically, he is a member of the Peoples Independent party and affiliates with the Royal Highlanders of Springview.
ALBERT J. GRAGG
Albert J. Gragg, who is among the old settlers in western Nebraska, owns a good ranch which he has improved in splendid shape during the past ten years, and he occupies a foremost position among the well-to-do and progressive farmers and ranchmen of Hook-
© 2001 NEGenWeb Project Resource Center, Marilyn J. Estrada, T&C Miller

redpajama_set_name: RedPajamaCommonCrawl


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Sometimes it takes someone outside the field to view it objectively. Gelman, a thorough and well-informed lawyer, has a perspective on psychiatric history that will take decades for psychiatry to get. Psychiatry once had a "vision" of specific antischizophrenic treatments with trivial side effects. Gelman traces the precise unraveling of that vision, and the waffling reactions of prominent leaders in the field. Like a lawyer placing psychiatrists on trial, Gelman catches them in all their prevarications and inconsistencies, then adds thought provoking reflections of his own.


HEMP SEED has been in the diet of humans and animals for centuries. It is easy to farm in that it is very low maintenance, requires zero pesticides or fertilizers and will grow just about anywhere in the world. Some populations have survived on hemp seed during times of famine.
As a vegan, striving to get enough protein in my diet, I include hemp seed in my daily nutrition regime. Hemp seed is so powerful. For a tiny, mild tasting seed it packs a very concentrated source of protein, fibre and essential fatty acids.
There are so many ways you can get hemp into your diet. I add organic hemp seed to my breakfast either as an addition to a bowl of berries or to my green smoothie. I spread hemp butter on the odd slice of unleavened Manna bread. I have added hemp seed to dehydrated cracker recipes. I use hemp milk on my cereal or in recipes that call for milk. Hemp milk is a fantastic non-dairy substitute for any recipe calling for cow's milk. I also use hemp oil when making vinaigrettes for salads. I have added hemp seeds to my raw desserts. Hemp oil can also be used as an elixer for your skin.
Hemp is very high in fibre, in fact it is a whopping 42% fibre. One serving of hemp seed or hemp powder supplies you with 50% of your daily fibre recommendation. Hemp is mostly insoluble fibre which helps to move bulk through the intestines. It promotes regular bowel movements, helps to remove toxic waste and keeps the intestines in the proper PH balance.
We have heard about how increased fibre in our diet is beneficial. Unfortunately most people are only getting about 15 grams a day and should be striving for 30 to 35 grams per day. Balancing protein, fiber and essential fatty acids is so important to achieving heart health, colon health, blood sugar and healthy body weight and hemp seed and hemp powder can definately help with all of that.
Hemp has the perfect balance of Omega 3 and Omega 6 fatty acids and a full scope of amino acids. It is a complete protein and contains many trace minerals. It is, without a doubt, one of the greatest superfoods nature provides to us.
Hemp provides other benefits aside from nutrition. Hemp has a wonderful effect on skin and hair. It is highly emollient and is great to put on your skin. It penetrates the skin very deeply allowing the essential fatty acids to go to work creating healthy moisture levels.
All in all, hemp seed, hemp oil, hemp butter and hemp milk are powerhouse nutrition. Add them to your favorite recipes and reap the benefits.


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package org.trafodion.rest;

/**
 * Common constants for org.trafodion.rest
 */
public interface RestConstants {
  public static final String VERSION_STRING = org.trafodion.rest.util.VersionInfo.getVersion();

  public static final String MIMETYPE_TEXT = "text/plain";
  public static final String MIMETYPE_HTML = "text/html";
  public static final String MIMETYPE_XML = "text/xml";
  public static final String MIMETYPE_BINARY = "application/octet-stream";
  public static final String MIMETYPE_PROTOBUF = "application/x-protobuf";
  public static final String MIMETYPE_PROTOBUF_IETF = "application/protobuf";
  public static final String MIMETYPE_JSON = "application/json";

  public static final String CRLF = "\r\n";
}

redpajama_set_name: RedPajamaGithub


In an earlier post, readers were invited to share any ideas they had concerning potential topics for the upcoming 2017 Quality Summit. Karla W. was one person who accepted this open invitation. Below is what she wrote.
Why not be like Karla and "feed" the elephant?
This entry was posted in Announcement, Conference, Input, Patient advisors, Patient Voice and tagged family advisor, honorarium, partnership, patient advisor, Quality summit, tokenism, volunteer, volunteerism. Bookmark the permalink.
– When getting Patient & Family Advisors together, ones who work in different areas of healthcare (e.g. different Strategic Clinical Networks), consider identifying common areas of interest (concerns, opportunities) and encourage intentional discussion on these topics.
– When getting Patient/Family Advisors and healthcare professionals together (multiple different roles) – ones who should be working closely together – encourage intentional discussion on common areas of interest and importance.
As much as possible, support the above discussions/conversations with outside, skilled facilitators who use facilitation techniques and tools that support the principles of 'every voice being heard', 'every voice matters', capturing/documenting what is being discussed for reflection as part of the meeting – all with a sense of respect and urgency. (I have witnessed this having been done, I think led by the DesignLabs people, and it was outstanding).
– and that overall, things simply take much too long.
Perhaps bringing some attention to ensuring these intentional conversations happen in a meaningful way; are well facilitated to limit the extra workload on healthcare professionals; and having more of a sense of urgency – the 'partnership' of everyone involved in working positively towards improving care will happen.
Thanks for the opportunity to share some thoughts.


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Things To Do: Landmarks
Learn about the best parks, attractions, museums, historic landmarks, tours, and other things to do in Portsmouth NH and the surrounding Seacoast area.
By Area NH — Portsmouth, NH — Dover, NH — Durham, NH — Exeter, NH — Greenland, NH — Hampton, NH — Kingston, NH — Lee, NH — New Castle, NH — Newmarket, NH — North Hampton, NH — Rye, NH — Seabrook, NH — Somersworth, NH ME — Kittery, ME — Ogunquit, ME — South Berwick, ME — York, ME — York Beach, ME
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Isles of Shoals
Attractions, Family Fun, Landmarks, Maritime, Outdoors
315 Market St, Portsmouth, NH 03801
The picturesque and history-filled Isles of Shoals, six miles off the New Hampshire coast, are a popular day trip.
More » Website »
The Memorial Bridge, originally built in 1923 and replaced in 2011-13, spans the Piscataqua River and connects New Hampshire and Maine. The project won numerous national and regional design and engineering awards.
Moran Towing Tugboats
Landmarks, Maritime
34 Ceres St., Portsmouth, NH 03801
Tugboats operated by Moran Towing Company dock at the heart of Portsmouth's waterfront and often are identified with the city.
North Church
2 Congress St., Portsmouth, NH 03801
North Church, constructed in 1854 to replace a meeting house built in 1713, dominates the eastern side of Market Square and can be seen from almost anywhere in the city.
Nubble Cape Neddick Lighthouse
Attractions, Lighthouses, Family Fun, Landmarks, Maritime
Sohier Park Road, York, ME
Picturesque and accessible Cape Neddick Lighthouse (The Nubble) in York Beach, Maine, draws thousands of visitors each year.
Portsmouth Harbor Lighthouse
Lighthouses, Family Fun, Landmarks, Maritime, Outdoors
USCG Station Portsmouth Harbor, New Castle, NH
The 48-foot tower of Portsmouth Harbor Light, built in 1877, overlooks the entrance to Portsmouth Harbor from historic Fort Constitution and the U.S. Coast Guard Station. The lighthouse is open for tours in summer.
Portsmouth Naval Prison
Meade Ave., Kittery, ME 03904
The mysterious and massive building across the river from Portsmouth is former U.S. Navy prison, abandoned since the 1970s.
Prescott Park
Attractions, Parks, Gardens, Family Fun, Concert Venues, Landmarks, Outdoors, Theaters
Marcy Street, Portsmouth, NH 03801
Portsmouth's 10-acre waterfront park with flower gardens and a summer arts festival.
Attractions, Family Fun, History, Landmarks, Museums
14 Hancock St., Portsmouth, NH
Strawbery Banke Museum illustrates the lives of historic New Englander with restored homes from four centuries and working artisans.
Deer St and High St., Portsmouth, NH 03801
The Hill, a collection of homes saved from the wrecker's ball in the early '60s, now is an office park and home to the Blue Mermaid restaurant.
Wentworth by the Sea
Wentworth Road and Bridge St, New Castle, NH 03852
One of the East Coast's grand hotels, Wentworth by the Sea reopened as a Marriott hotel in 2003 after a 20-year hiatus.
Whaleback Light
Lighthouses, Landmarks, Maritime
Whaleback Light, Portsmouth, NH
Fifty-foot high Whaleback Light sits in the middle of the Piscataqua River, at the entrance to Portsmouth Harbor.
White Island Light
Originally constructed in 1859, White Island Light stands atop the southernmost island in the Isles of Shoals.
Lee, NH
Somersworth, NH
Ogunquit, ME
South Berwick, ME
York Beach, ME
Seacoast Breweries, Cideries, Wineries & Distilleries
Surf Equipment


text:
Category Archives: Creative
I phoned the police. Two policemen came and interviewed him. They too drove to the house and came back. They then called the "Armed Defenders Squad". (In New Zealand the Police don't carry guns, but when there is a need such as this the highly trained Armed Defenders step in.)
The police took the boy away. I did not know for the rest of the night what had happened.
(To be continued…Finale tomorrow)
This entry was posted in A Story a Day, Creative, Reflections-Awards, Tales, Yarns and tagged murder, police, storm, youth on January 31, 2023 by Bruce Goodman.
I leapt out of bed. My heart stopped. To this day I'm quite pleased with my reaction. I handed him a towel and said, "Well don't stand there all wet. Dry yourself." He was about my size so I found him some clothes.
He explained what happened. He had gone to the bathroom in the night. While he was there the voices of men (it sounded like two of them) were shouting at his parents in their bedroom. Then there were gunshots. They started yelling for him to come out. The toilet had a louvered window. The boy squeezed himself out. He ran through the rain towards the river – the area of which was unhoused. The river was slightly in flood. He waded up the river towards school and came into my room. Naturally he was upset.
We got in a car and drove to his house (I have no clue why). No lights were on in the house. There were tall poplar tree swaying in the wind. It was dark and threatening. We drove back to school.
This entry was posted in A Story a Day, Yarns, Tales, Creative, Reflections-Awards and tagged murder, storm, police, youth on January 30, 2023 by Bruce Goodman.
Story Number 2626 is an interesting enough number to deviate from fiction into truth – as is customary on this blog! Today's story is about what could be one of the more memorable things that has happened to me!
I was a teacher and house master at a large boarding school for boys – mainly sons of farmers from isolated areas, but the school had some local day students as well. The dormitory area of my responsibility catered for about 120 sixteen year old young men.
It was in fact a dark and stormy night. I was fast asleep and at about 2 in the morning my door opened, the light was switched on, and a boy appeared in his pyjamas covered in mud from top to bottom. He wasn't from my dormitory, but was a day student who lived with his parents about a mile away. He said, "I'm sorry to disturb you, but my parents have just been shot."
This entry was posted in A Story a Day, Creative, Reflections-Awards, Tales and tagged murder, police, storm, youth on January 29, 2023 by Bruce Goodman.
When it came to card tricks Estelle was definitely sleight of hand. She could make cards appear and disappear with panache. For that matter she could conjure up other tricks as well, like when she put a chicken carcass into a hat and pulled out a live rabbit. She had always said throughout her teens that she wanted to be a professional magician. Her parents were not happy with such a choice. Someone as bright and clever as her should strive to be a doctor or a lawyer or a university professor.
"There's no chance a girl would make it in the men's world of magic," declared her mother. "Aim a little higher." But Estelle would have none of it. She asked at the local casino if they needed a card dealer but there were no vacancies. She applied for a job as a magician's assistant but (in the magician's words) being female demanded she don a bikini and appear out of a box after being cut in half. Silly girl, it was a man's world.
All that is in the past. For the last four years Estelle had worked as a checkout assistant at the local supermarket. She's doing very well; extremely well in fact.
This entry was posted in A Story a Day, Creative, Fiction, Flash fiction, Tales, Yarns and tagged flash, nagic, nagician, sleight of hand, slight of hand, theft, trick on January 28, 2023 by Bruce Goodman.
The good thing about a pet rat, said Cameron, is that their lifespan is generally only two to three years. At least it's a pet you know you're going to outlive, and don't have to worry about making arrangements for it if you die first.
Anyway, at Cameron's funeral Maisina, his second cousin twice removed, said she would be happy to look after the rat.
This entry was posted in A Story a Day, Creative, Fiction, Flash fiction, Tales, Yarns and tagged death, flash, funeral, life, pet on January 27, 2023 by Bruce Goodman.
Gillian was an enthusiastic, and successful, propagator of potted plants.
The last thing her now ex-husband did before permanently leaving the house was to spray all her plants with weed killer.
Gillian cottoned on about a week later as to why her plants were dying. She thought of revenge and dismissed the thought immediately. It can't be construed as revenge if the wheels had been set in motion prior to the deed demanding revenge.
Yes, she would leave things exactly as they had been arranged. Not only would he be wiped off the face of the earth, but the Hells Angels Gang had paid her good money for information that would lead to his whereabouts. She'd use some of the money to get more plants.
This entry was posted in A Story a Day, Creative, Fiction, Flash fiction, Tales, Yarns and tagged divorce, flash, Hells Angels, pot plants, potted plants, revenge, weedkiller on January 24, 2023 by Bruce Goodman.
"It's definitely food for thought," declared Ava-Margaret. She had been entertaining a guest at her apartment in the retirement village and they had discussed how late December-early January seemed to be the time the Grim Reaper made an appearance. "It's funny," said Ava-Margaret, "we older people don't seem to have the resilience against illnesses that we used to have in younger years."
Because Ava-Margaret and her visitor were enjoying a lovely cup of tea didn't mean that Ava-Margaret was doing nothing. She was busy chopping up rhubarb to make rhubarb jam. "I know I'm early," said Ava-Margaret, "but I avoid the Christmas rush by preparing a few little gifts well in advance. Little jars of rhubarb jam are just what the doctor ordered."
"You realize," said the visitor, "that you are chopping up the rhubarb leaves as well as the stems. The leaves are poisonous."
"Dear me, so they are!" laughed Ava-Margaret. "I'll have to be careful as to who I give these little gifts to."
Jim chortled. "It's fun to be in on it," he said.
This entry was posted in A Story a Day, Creative, Fiction, Flash fiction, Tales, Yarns and tagged elderly, flash, jam, murder, old, poison, rhubarb on January 23, 2023 by Bruce Goodman.
Coral and Ginger were well into their 80s. They had been friends for years; in fact they had started kindergarten together way back. They both had had happy marriages, brought up families, and been widowed. These days Ginger lived at her daughter's home. Coral was fiercely independent and lived alone.
Coral hated the fact that she was getting old and couldn't do things that used to be as easy as pie. For example she could no longer lift a heavy pot off the stove, or even pick up her beloved cat. She still managed household chores but at a slower pace, as long as there was no heavy lifting. And then the sad news came. Ginger was chronically ill. She had cancer. "If there's anything I can do just call," said Coral to Ginger's daughter.
And indeed there was something Coral could do. "What she mind ever so much to stay the night and fix Ginger her dinner and breakfast?" Ginger's daughter had to go away overnight urgently and Coral would be the perfect caregiver.
"It would be a privilege," said Coral. Off the daughter went! She had barely left when…
Ginger fell out of bed.
This entry was posted in A Story a Day, Creative, Fiction, Flash fiction, Tales, Yarns and tagged bed ridden, flash, friends, ill on January 22, 2023 by Bruce Goodman.
Adriana's main room was an open kitchen, sitting room, dining room. When she got up in the morning, in the dark, to make a coffee, she would turn on the light over the dining table. To turn the fluorescent kitchen light on was far too bright. It would be a rude awakening, especially before the first sip of morning coffee. The light over the dining table was softer; a dull, warm light.
On this particular morning Adriana groped her way towards the light switch as she usually did. She turned on the light. There was someone sitting in an armchair. Adriana screamed. The person did not move. Adriana tentatively approached. The person was dead.
Adriana phoned the police. Apparently the person was some sort of uncover agent so no matter how hard the author of this tale has tried, the person's identity and why they were there remains a mystery. I apologise.
P.S. I MAY be away for several days as I have piles of work and little sight!!
This entry was posted in A Story a Day, Creative, Fiction, Flash fiction, Tales, Yarns and tagged agent, coffee, death, flash, undercover on January 20, 2023 by Bruce Goodman.
It was summer and Mr. and Mrs. Barriball bundled their three children up and loaded them into the car. They were off to the beach for the day!
The Surf Lifesaving Club had put up flags on the beach. People were to swim between the flags if they wanted to be rescued if they got into trouble.
Mr Barriball thought that was silly. "There's a lot more space to enjoy oneself in the water without a crowd of fat people splashing around."
At the end of the day Mr and Mrs Barriball bundled their three children up and loaded them into the car. They were off home! "See," said Mr. Barriball," I told you that swimming between the flags was a silly idea." He gesticulated grandly as he spoke.
"Slow down a bit on the corners, dear," said Mrs. Balliball.
"The speed indications they give on corners are always far too slow," said Mr. Balliball. "You can almost always double the speed indicated."
Mr. and Mrs. Balliball and their three children arrived home in no time.
This entry was posted in A Story a Day, Creative, Fiction, Flash fiction, Tales, Yarns and tagged flags, flash, laws, life saving, rules, safety, surf club, swimming on January 19, 2023 by Bruce Goodman.


The REVS collection is inspired by vintage Yamaha motorcycles.
The design of the REVS Rex Vest also embraces the concept of Yamaha's nostalgic Speedblock but with a modern twist to the graphic.
The Yamaha REVS collection is the perfect addition to a casual lifestyle.


This burger place is always packed, which means it's making some pretty decent burgers.
This burger place is always packed, which means it's making some pretty decent burgers. Inspirited by Old Brooklyn, the menu consists of handcrafted burgers, hot dogs, salads and desserts. Brooklyn Depot found in Surfers Paradise, also dishes up mouthwatering BBQ Pork Ribs, chicken wings and chips, you literally can't pass this place up.


Summer 2016 sees Bryan Hymel performing Verdi and Puccini, finishing the 2015-16 season in La traviata at Opéra National de Paris.
Making his debut at the Chorégies d'Orange festival, Bryan performs Puccini's Madama Butterfly. The American tenor sings the role of Pinkerton under the baton of Finnish conductor Mikko Franck with Ermonela Jaho as Cio-Cio San, Marc Barrard as Sharpless and Marie-Nicole Lemieux as Suzuki. Bryan can be seen performing in the historic Roman theater on July 9 and 12.
Continuing the summer festival season, Bryan makes another debut on August 5 at the Festival Castell Peralada in a recital with soprano Irini Kyriakidou and pianist Julius Drake.


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Brooklyn's Promised Land: The Free Black Community of Weeksville, New York
By Judith Wellman
Publisher New York Univ Pr
Publication date November 7, 2014
SOCIAL SCIENCE / Discrimination & Race Relations
SOCIAL SCIENCE / Ethnic Studies / African-American Studies,2586,C
History: American
African Americans; New York (State); New York; History.
Battle for Bed-Stuy | Crown Heights and Weeksville | A Covenant With Color | Whose Harlem Is This, Anyway?
Amazon.com description: Product Description: In 1966 a group of students, Boy Scouts, and local citizens rediscovered all that remained of a then virtually unknown community called Weeksville: four frame houses on Hunterfly Road. The infrastructure and vibrant history of Weeksville, an African American community that had become one of the largest free black communities in nineteenth century United States, were virtually wiped out by Brooklyn's exploding population and expanding urban grid.ÂÂ
Weeksville was founded by African American entrepreneurs after slavery ended in New York State in 1827. Located in eastern Brooklyn, Weeksville provided a space of physical safety, economic prosperity, education, and even political power for its black population, who organized churches, a school, orphan asylum, home for the aged, newspapers, and the national African Civilization Society. Notable residents of Weeksville, such as journalist and educator Junius P. Morell, participated in every major national effort for African American rights, including the Civil War. ÂÂ
In Brooklyn's Promised Land, Judith Wellman not only tells the important narrative of Weeksville's growth, disappearance, and eventual rediscovery, but also highlights the stories of the people who created this community. Drawing on maps, newspapers, census records, photographs, and the material culture of buildings and artifacts, Wellman reconstructs the social history and national significance of this extraordinary place. Through the lens of this local community, Brooklyn's Promised Land highlights themes still relevant to African Americans across the country.ÂÂ
from New York Univ Pr (November 7, 2014)
About: In 1966 a group of students, Boy Scouts, and local citizens rediscovered all that remained of a then virtually unknown community called Weeksville: four frame houses on Hunterfly Road.
Reprint edition from New York Univ Pr (February 1, 2017)
About: In Brooklyn's Promised Land, Judith Wellman not only tells the important narrative of Weeksville's growth, disappearance, and eventual rediscovery, but also highlights the stories of the people who created this community.


text:
Back to Issue Twenty-Four.
A CONVERSATION WITH LYNN MELNICK
BY LAUREN R. KORN
Lynn Melnick is the author of the poetry collections Landscape with Sex and Violence and If I Should Say I Have Hope and the co-editor of Please Excuse This Poem: 100 Poets for the Next Generation. Her poetry has appeared in American Poetry Review, the New Republic, the New Yorker, the Paris Review, A Public Space, and elsewhere, and she has written essays and book reviews for Boston Review, LA Review of Books, and Poetry Daily, among others. A 2017-2018 fellow at the New York Public Library's Cullman Center for Scholars and Writers, she also serves on the Executive Board of VIDA: Women in Literary Arts.
First, congratulations on the release of Landscape with Sex and Violence—it's a collection that had (and has) me re-examining my body's space in the world through the lens of your written confidence and your speaker's experiences. Mary Jo Bang has called it "unswerving." Laura Kochman has called it "relentless." Each time I read one of your poems, I am reminded that the word "landscape" exists with many meanings. I see city-scapes and head-spaces—physical and emotional spaces that are hard to escape. The politics of the body are impossible to ignore, too, both as women and as people who exist in a political and cultural climate serviced by ignorance and by misogyny. In this way, your collection is timeless; in this way, your collection is timely.
LM: Thank you very much! I appreciate your saying that. I started writing this book in 2012, but most of the poems take place in the 20th century (a few are present day), because it is a book inspired by my own youth. Little has changed, though, unfortunately, in terms of girls and women and how our bodies are perceived and used. There was a moment where I, with hope, felt like this book could be a lesson in history, but it seems more and more clearly to be a catalog of current events.
I think, in that way, it will be preserved as an artifact of America's (turbulent political) history. And just as it prompted my own re-examination of both the physical and political spaces my body inhabits, I am positive it will prompt others to do the same. It is important.
LM: Thank you, truly.
Shortly after your book's release, Amazon rendered the book invisible on its site, citing the book's "adult" language. How did this effect you?
LM: It was actually labeled "adult content." Amazon never gave me an explanation, so I don't know if it was the language, or what.
And I was upset! And I was outraged. And I was confused; my book is not pornographic. There is sex in it, but it is not porn. I have watched porn, I have read porn, I have, in fact, even been paid to write porn. I know what adult content is! How dare they confuse my art with porn. I felt humiliated, once again sent to the slut-shamed corner. I felt raw and shamed and, like, why can't my book be like all the other books and just be for sale, regular? I sort of felt 15 again and like the speaker in my book.
The writer and activist Soraya Chemaly, of the Women's Media Center, reached out to me and asked me to write a piece about the experience, which I did, and that helped me articulate a lot of what I felt.
As a former independent bookseller, I cheer at the prospect of your book being solely available via independent retail outlets, but as someone who knows their reach, not having Amazon's customer base seems a hard hit to book sales. How did, and how has, the censorship affect(ed) your book's reception? I saw in Amazon's censorship an exemplification of everything you're attempting to elucidate in Landscape, and while it must have illuminated a particularly frustrating irony, it must have also urged book sales, as well. Have you seen a noticeable upswing in book sales since your book was made visible, again? Is this information you're privy to as an author?
LM: I don't know what my book sales are. I haven't asked. When this Amazon shit went down a lot of people kept telling me that, ultimately, it would be a good thing (any publicity is good publicity, etc.), but the damage it did to my stability was not worth book sales and the shame was super triggering to me.
Of course I'd prefer people buy my book in the way that makes the most money for my publisher and independent booksellers, but I also would like my book to be as available as any other book. I heard from several people (mostly men) suggesting I cared too much about Amazon, like I was some sort of corporate sellout or flunky for capitalism! And then I'd check, and their books were, of course, available on Amazon. So these people basically wanted me to be above it all and too pure for the platform that they readily used to sell their own books? Seriously, fuck off.
I apologize if my question seemed to negate the emotional impact the censorship had on you; it certainly was not my intention. (It's the bookseller in me who wants to know the extenuating circumstances surrounding a book's shelf life.)
How or where did these conversations with "mostly men" take place? How much room do you give men in these conversations—that is, do you engage these men in conversation, or is it one you've had so many times you leave their comments unattended or unanswered?
LM: Oh, no, your question didn't negate the emotional impact! I think we are all sort of trained via various media to think about sales (and especially if your sales experience is with books!). I actually wasn't quite so aware of this tendency until this Amazon thing happened because of the number of people who thought it was a good thing, to be banned in some way. Although, I'll tell you this, when my YA poetry anthology, Please Excuse This Poem, came out, my co-editor, Brett Fletcher Lauer, and I used to joke that we wanted the book to get banned in various school districts to increase awareness. (It hasn't yet been banned, FYI.) So I get that scandal sells. It's just that, in this case, with Amazon labeling my book smut, basically, it tapped into the kind of name-calling and slut-shaming I've been dealing with most of my life. So it was triggering, and seriously un-fun.
Re: the "mostly men" who contacted me, I got one message via my website, but mostly it was via Twitter DMs, and I know you might be thinking, "Why the fuck do you keep these open?" The answer is that occasionally someone who has suffered trauma reaches out to me there, and I want to be available if a stranger in crisis needs to reach out. It's worth the foolish men who want to explain things to me. And, no, I don't respond to the foolish men, it's a waste of energy. They don't want to hear me.
YesYes Books, your publisher, played an active and vocal role in speaking out against Amazon's censorship. Was it their calls to action (asking their readers and social media followers to speak out against Amazon's decision) that ultimately made Amazon re-list the book?
LM: Well, I actually don't know because, as far as I am aware, Amazon has never acknowledged or explained their action to restrict the book as adult content or to then remove that restriction. Plenty of more explicit content exists in a searchable way on Amazon. But YesYes was crucial and tireless about getting the word out on social media about this debacle. And KMA Sullivan, YesYes's publisher and also my editor, knew how upset I was, how thoroughly exhausted by patriarchy. She, thankfully, kept telling me I didn't have to fight, that they would fight for me, and, wow, what a thing to hear and see. Because I'm really fucking tired. So, if I had to guess, I would say their calls to action made my own voice able to be heard again. I'm very grateful.
What an incredible, symbiotic relationship you have with YesYes. Your previous book, If I Should Say I Have Hope, was also published by YesYes in 2012. What have your experiences been, working with them to publish your manuscripts? They seem like a generous, hands-on publisher.
LM: Oh, they really, really are. I was so happy to be with YesYes again, and happy that they wanted me back. I published the anthology I mentioned, Please Excuse This Poem, in 2015 with Viking and that was also a great experience (my editor there, Sharyn November, was fantastic and loves poets and poetry; I've been blessed with amazing editors!). But that experience taught me a lot about how big publishing works, which is very much based in commercial realities and marketing potential. With Landscape with Sex and Violence, I was relieved not to have to prioritize that, and delighted to work with a press that knows me, believes in my work, and believes in me. It's definitely harder for small presses to compete with larger presses in terms of distribution and promo, but YesYes works so hard at all aspects of the process and, I think, gives more to their authors in terms of individual support than any publisher of which I've heard, big or small.
Your poem "Losing the Narrative" was featured on the Academy of American Poets' Poem-a-Day page in October. In it, you write, "I've been told repeatedly that I don't understand plot." As a poet, how do you understand plot and narrative, and how does that understanding inform your poetics (your form, style, or otherwise)?
LM: I was being quite literal in that line. I have been told repeatedly that I don't understand plot! I've tried my hand at fiction and I've heard back that my writing is lovely but there's not enough plot. Or, another example is if I watch a detective TV show or movie, I just can't see how everything relates or foresee the obvious plot twists. I suppose I have a poor imagination for action. I do like writing prose, but I've begun to write essays and prose-poemy things because if I'm recounting actual events at least I'm starting from some sort of plot base.
"Losing the Narrative" is, too, a telling poem—telling of your poetic style and telling of themes that run throughout your book-length collections. It, as well as the poems in Landscape, seem(s) to be broadly applicable to the female experience (combining what Calista McRae at the Boston Review identifies as authority and uncertainty), but you are careful not to make those sweeping gestures explicit. Can you explain your process in writing these poems, specifically your want to write a speaker who is resolutely singular but who speaks to a broad experience? There seems to be tension between these two urges. I was prompted to look more closely at persona as it pertained to Landscape, because upon reading a review of your book in Publishers Weekly, I noticed the following end note: "This review has been updated so as not to conflate the poet and the speaker of the poems."
LM: My process for the "Landscape" poems was always the same: some image or memory popped into my head and then I'd try to recount it as best I can, being both faithful to my history but also trying to get at the larger issues that concern me. Like, in the first poem in the book I was remembering being very, very high and feeling very triggered about recent traumas; I was leaning against a stucco building in L.A., sort of meditating on some weeds growing, the kind of thing that high people do. It was very painfully sunny, as L.A. is. But the larger point I wanted to make was that I was an obviously fucked up kid slumped against a building and no one stopped to help, and the larger point still is that I was an obviously fucked up kid in general and no one stopped to help.
In regards to Publishers Weekly having to correct their review, yes, they originally kept referring to the I of the poems as me, and not the speaker, which honestly I don't think I would have had a problem with if the review itself hadn't been so troubling and misogynistic. It mocks the book for its "parade of I." It #NotAllMens the book by complaining that my experience is only mine. It, very troublingly, states that I depict men who harm women as "undeserving." As ever, those reviews are anonymous, and I do get why they do that, but that means that the editor or editors of that section are responsible for allowing the misogyny to run unchecked. And, you know, I was prepared for pushback on the book but that was like wow, you all aren't even trying to hide your disdain for women!
How do you prepare for "pushback" with a book like Landscape? You've already used words like, "damage," "stability," "shame," and "triggering." I'm sure every poet's process is different when it comes to mentally and emotionally readying oneself for the reception of published work—what's yours?
LM: Well, I was prepared for pushback in that I knew I would get it, because I've always gotten it, but I wasn't emotionally prepared for how lousy it feels, even though I am familiar with how lousy it feels! I think what I didn't expect was very clear institutional pushback. Like, institutions can reject my work by not supporting it in less obvious ways, not acknowledging my work's existence, but, in this case, I was being actively knocked down by powers-that-be. I wasn't prepared for that giant middle finger in my face.
To further the subject of persona: I recently read your 2013 "Poets' Roundtable on Person and Persona" over at the Los Angeles Review of Books, in which you write in the introduction, "Even if a poet writes her or his poems based on certain experiences and recollections, it's still a kind of invention. Plath's poem, 'Daddy,' arguably the most well known Confessional poem, has only tangential relation to her actual autobiography (even though it is frequently confused for such)." Roundtable participant Amy King writes, "There are ultimately no easy divisions once we get past the immediate superficial division of poet versus poetry." I am reminded not only of Sylvia Plath, but of poets Elizabeth Bishop and Anne Sexton (among many). Their histories have informed the critical reception of their work and, ultimately, have colored the way in which their crafted personas are read—as autobiography. Cate Marvin's piece, "On Being No One" seemed to speak to the idea most pointedly. Can you elaborate on this particular idea—that one's art can exist apart from its maker in this way? Did your own views on persona change after the Roundtable, and have they changed (or solidified) since the writing of Landscape?
LM: That roundtable was so important to me as I began writing Landscape with Sex and Violence because I knew I was embarking on this very personal, explicit, story of my earlier life, and yet I am a very private person! I learned so much from all the participants and it was often a comfort to me. People are often surprised, when they meet me in person, that I am not as tough and brash as my poems. So although these poems are about me, they are not about every aspect of me, I was using my own history, and, um, my skill with language, to tell a story and make a point. If I were to write a straight-up narrative recounting of that same time it would have many dull passages of me sitting around high, of me working crappy jobs, of me on the bus endlessly, of me eating crappy food. Real Lynn was, and is, not as energetic or insistent as the speaker in this book, though that speaker is definitely a part of me. And there are just feelings one can tap into that need the twisting of language to fully bring out, because trauma and its aftermath often feel surreal.
Going back to the PW review and the "parade of I," women, as well as writers of color and marginalized writers in general, are often expected to write their own stories and then they are often criticized for that narrow focus. The art and craft it takes to weave the personal into art is often diminished. White men's "I's" are taken as the universal I, so it is less of an affront to the patriarchy when they use it or don't use it. Whatever their choices, they have assumed import and gravitas. They control the narrative and what history remembers as central. Meanwhile, I use the "I" and I am shamed for it. Kaveh Akbar was recently shamed for his use of the "I" in a dreadful and mean review of his terrific book. I'm so fucking pissed off about all of this.
I want to go in a few different directions with your response: First, have you spoken to Kaveh about the review? (It seems like a perfect conversation starter for a Divedapper interview.)
LM: I sent him a quick note just to give my love and support. Because, no matter what kind of accolades you've already gotten, it's still really fucking awful to get crapped on in public like that.
Second, you wrote in the aforementioned article, "Shame on me: My time in Amazon's penalty box," that, during your time as a student, when a professor would tell you to stop writing poems about sex and violence against women, "I would [have rather been] silent than shamed." What or who urged you to break from that idea—what or who reversed your attitude?
LM: Back when I was a student (decades ago) I was still in the midst of my trauma. That professor had to have known something was going on with me because of the injuries I kept showing up to class with, but there was no way I was going to talk about any of it, it was a miracle I was even trying to write about it. But it didn't take much of anything to shut me down in those days because I had no strength or faith in myself. It took decades, then, for me to reverse this attitude, and there are many extraordinary people and situations that brought me out of my shell, but a lot of what gave and gives me strength is time, healing, my husband, and my children.
Third, what role do reviews play in your writing life? What role do you believe reviews should play in the literary community at large? The debate over the necessity of bad book reviews, specifically, is one I find engaging but one in which I haven't quite picked sides.
LM: Reviews play no role in my writing life in that I certainly don't think about them when I'm writing, nor do I expect to receive any, though I should definitely mention that I have gotten many reviews of Landscape and I am very, very grateful. This certainly was not the case with my first book! I've also been told twice, by well known book reviewers, that my new book isn't for them to review—whatever that means.
In general, and I say this from my own experience reviewing books, book reviews take a lot of time! If you want to really engage thoughtfully with the work, as it relates to other poets' and other of the poet's work, it takes a lot of actual effort. It can't just be dashed off and summed up in a few easy sentences with buzz words or slapped onto a list of top whatever. I write promo copy as one of my freelance gigs, so I know how to dash that shit off, but to really review something requires much more effort and time than most people can afford, most poets especially, and it's mostly poets who review poetry because mainstream outlets don't really review much poetry unless it's a rare breakout book. So we end up with a lack of poetry reviewers and reviews, and that's too bad. And it also makes bad reviews so much more devastating because they are weighted more heavily in a small market.
In Landscape, you have created a space where sexual bodies are at odds with their sexualization. It's a tension that is woven through each of the poems in your collection but that exists in difference forms, e.g. the aforementioned lyric and confessional speaker, or the poetic form you've chosen for this collection—your two line stanzas seem measured and tidy in a way that their subject matter is not. Can you speak to either that tension or your form—or to both?
LM: I think that tension will be ongoing in me forever. The title poem of the book is the first poem I wrote for the book, and I wrote to try to understand how sex with a former lover could have been so mind-blowingly good when, at other times, he often physically hurt me quite severely. And then many of the other poems in the book are trying to grab objectification back in some way. My poems can be very dense and tangly, so I chose the one and two line stanzas as a way to air them out, to give each word and thought more space. Also, I wanted the poems to be constructed in a very careful way because, in order for people to hear women, to really hear them, they have to take them seriously, and I have struggled with being taken seriously as long as I can remember. I wanted the skill of these poems to be tight, confident, beyond a doubt.
Understanding the necessity for confidence and for the care of craft makes me enormously grateful for the women writers who have informed my work and have taken me on as a student or as a workshop peer. How have other women contributed to this particular notion—either as enforcers of the idea or as supporters of your "very dense and tangly" style? I imagine there are those who could and would want to argue either side.
LM: I think the best readers meet you where you are. That is, they don't try to change your approach, but work within your style to help you improve. Whenever I've been in workshop environments as a participant (which hasn't been all that often in recent years), I've found it most unhelpful to receive comments like "I would put this in quatrains" or "maybe make this a prose poem." When I'm teaching, I say, "maybe try this in a few different forms and see which one feels most right." Because I think writers run on instinct and figure it out for ourselves, sometimes with some gentle guidance.
I don't know how to assess if women are better readers for me than men, or more accepting or whatever, but my most recent workshop experience was with a group of other poet moms, right at the beginning of my writing Landscape, and the best help I got, as I said, met me where I was with the project.
One of the most eloquent (that's not even the right word, but it's a good word) poems in Landscape, particularly in regard to the "tight, confident" craft you just spoke of, is the last poem, "One Sentence About Los Angeles." In it, you write, "and, while you're probably waiting for metaphors / because you know that's the most respectable skill I have // this is not a story about cages…." Readers of poetry will see in your collection a conspicuous lack of metaphor—so much of Landscape reads as narrative; but these lines exemplify your skill as a poet and see you exerting your careful and confident hand in a way that brings together each of the poems into a space you—as Lynn, as poet, as woman—have created. In that same poem, you write, "and, while you are probably waiting for confession / because you think that's what I've been doing here all along // this is not a story of how my body was first held down // …this is the story of how I got to live…." Here, again, you are performing magic. You are prophetic! It occurs to me now, after having had this conversation with you, that in these lines you prophesied the above-mentioned "pushback." I don't have a question for you after all that, just awe.
LM: Thank you so much! I think a lot of the time, while I was writing, I was addressing those who I knew would push back. I had already experienced this negativity via my work with VIDA, my first book, individual poems. So I knew that trolls and other assholes were just out there waiting, and I wanted to kind of wave and say hey.
As far as metaphors go, yes, I wanted to write Landscape with Sex and Violence without using metaphors for the violence. I wanted to just write the violence and make the reader confront it without sugarcoating it in any way. Maybe that was a mistake, in that maybe readers might be more comfortable with metaphor and would take the message with that spoonful of sugar, but I think I was too angry while I wrote this to give a shit about what would go down easiest for all the bystanders.
Most of the poems in the book bear a title that begins with "Landscape with…" (there are, by my count, ten exceptions). Did you set out to craft Landscape with Sex and Violence as a "project" book? Or did the naming of these poems, and the book as a collection, come together after the poems had been written?
LM: I wanted to tell my story, but I didn't think of that as a project. The first poem I wrote for the book was "Landscape with Sex and Violence," and then "Landscape with Smut and Pavement" quickly followed. I kept that title structure for many of the poems in no small part because it amused me, and it was interesting to me to write the poem and then see what its landscape was. I always knew that when I told my story, this part of my story, that it was going to be through the lens of the landscape of where the story took place, because you can't separate the two.
That's an interesting point. Your book, for me, is one of duality: the duality of form and content, the duality of sexual bodies and their sexualization. In thinking about the ways in which narratives are inextricable from the landscapes on which they occur, I'm forced to look more closely at your word choice: "with." To me, aside from your own amusement and the play on titles sometimes given visual art, to use "with" implies that the landscapes—both of the body and of the earth—are mutable. You could have titled your collection "Landscape of Sex and Violence" (and your poems similarly), and in doing so created inseparable bodies—but you didn't, and the duality created with that decision fascinates.
LM: Yes! I was trying to suggest that the physical landscapes changed for me because of my experiences within them. The landscape isn't inherently made up of, say, sex and violence or smut and pavement. People did that to the landscape.
I feel as though that particular perspective is one that makes your book ripe for an eco-critical reading. Do you have any specific education in eco-poetics or eco-criticism?
LM: No, not at all. I'd be curious about an eco-critical reading, but I was not trying to make a specific point or statement in that direction with this book.
You grew up in California, yes? And you now live in Brooklyn? Aside from the relationship with landscape that you illuminate in your book—a relationship of physical exploitation—what is your current relationship, physical or emotional, to the natural landscape?
LM: Yes, and yes! I love city landscapes, New York City landscapes—I love sidewalks, and subways, and the skylines during sunsets, and rows of brownstones, and city playgrounds. I love the smell of hot garbage in the summer! I'm twisted. I do love natural landscapes (especially the desert) when I find myself in them, but they don't swell me in the same way. And I sometimes dissociate in comfortable sunshine, which kills the mood.
When I visit L.A. now, it's the beige-ness of the buildings, those apartment buildings with small windows with which I am so familiar, the blandness of so much of the architecture and then those unexpected moments of beauty—that's what gets to me. And then, yes, also the trees, the phenomenal, almost otherworldly flora all around. It's really something. I am contradicting myself, perhaps? Calista Rae, in her Boston Review review explained it better than I could, or have, when she said "trauma has put this speaker in a terribly defensive relation to her environment." Yup.
I'd like to get back to the "parade of I." Poet Rosebud Ben-Oni, an Editorial Advisor at VIDA: Women in Literary Arts and a writer for The Kenyon Review blog, wrote about your [two-part] book in a two-part essay. In it, she writes, "In the very last poem of Part I, 'Landscape of Blood and Boondocks,' the speaker tells us that '[a]ll the cats compass out at night to verify / my homelessness though you can't / expect me to claw for food while most everyone else is sleeping.' And that while earlier she didn't find 'salvation, just my own voice / coming to'…. She is back to first person. She has reclaimed the 'I.'" Reclamation is a word for the marginalized body (again, of human bodies and of the earthly body). Do you agree with Ben-Oni in her statement? Is, or was, reclamation always your intention?
LM: It was certainly one of my intentions. I wanted to name and detail my traumas, and the traumas of rape culture in general, quite plainly, and not run from them or be ashamed of what was done to me, or to women in general. I wanted to reclaim my power as much as possible. Which I think goes back to what I was saying about metaphor, and why I didn't want to use it so much in this book. All that said, I still don't like talking to anyone about my own traumas, but I hope the book goes some distance.
You, too, are involved with VIDA. You're on the Executive Board. What are your responsibilities, and how has your participation and inclusion contributed to your evolution as a poet?
LM: Working with VIDA has been enormously rewarding because it gives me the opportunity to make space for writers who have been marginalized and to help keep the lit world accountable. I handle a lot of the outreach and much of the social media, and I'm involved in the general steering of the organization. It's a lot of work, and we could always use more help! I don't know that working with VIDA has changed the trajectory of my writing, but it's certainly brought me close to the amazing poets and prose writers with whom I work on the board.
I'm not familiar with Jared Farmer, whose "…there is no such thing as an innocent landscape" creates one of two epigraphs to your collection. Tell me about your experience with his work and how you see it representing your book.
LM: Jared Farmer is a historian who writes often about landscape and the American West. I happened upon his work randomly; one of my freelance promo copy gigs sent me a galley of Trees in Paradise: A California History as an uncorrected proof right as I was beginning my book. It traces the history of the state where I grew up via its landscape, and recounts the beauty and the underbelly of that landscape. Growing up, I didn't have the opportunity to think about the landscape, but it formed so much of who I am just by surrounding me. So, reading Trees in Paradise felt, in a way, like reading about myself. Farmer's meticulously researched facts informed a lot of my poems, and the passage I use as an epigraph could not have been more perfect for my project. I don't know Jared Farmer, but I am so, so grateful for his work. He's a beautiful writer.
How do you and your husband, poet Timothy Donnelly, navigate both your physical and your written spaces as poets? That is, what are the differences in your writing practices and writing spaces, how do you work as one another's (assumed) readers, and how do you go into that practice as loved ones? Do these experiences differ from, say, your writer-reader experiences with friends or with other female poets?
LM: Since I met him, Timothy has always been my biggest fan and my best reader. I'm his biggest fan and I hope a good reader for him too! We share a two bedroom with two daughters, so space is not the easiest to find. We both write in the living room. I'm usually on the couch, he's usually on the floor (although we rarely write at the same time). He works well into the earliest morning and I write whenever there is a bit of time. (This academic year I'm on a fellowship at the NYPL, so I've had my own office for the first time ever, but after May I turn back into a pumpkin.)
I have several beloved and trusted writer friends who see many or most of my poems as they happen, but I trust Timothy's judgment and opinion more than anyone's and I mean 100% what I say in my book's dedication to him: "everything and always." For a gazillion reasons, I owe Landscape to him.
Which poets, writers, or collections have you been gushing about lately? Which poets, writers, or collections heavily informed your writing experience of Landscape?
LM: I guess I'd say everything that I've ever happened across informed my writing experience for Landscape because this book feels like the soul of me. As the last one did. I'm a tumbleweed, I guess.
I've been gushing over Raena Shirali's Gilt and Brandon Courtney's Inadequate Grave. These two are my pressmates at YesYes, and I got to tour briefly with them this past fall and hear them read their work many times. It was amazing. Raena's poems burn shit down and I have yet to not cry when Brandon reads his.
I'm in the middle of Melinda Moustakis' Bear Down, Bear North, a book of linked short stories; her prose out poems many poems. Her sentences are extraordinary.
And I've been reading memoirs lately—re-reading Elissa Washuta's My Body Is a Book of Rules and reading Myriam Gurba's Mean for the first time, and I'm trying to learn more about that form and what we can say and what we can leave out. I just reread I Know Why the Caged Bird Sings because I bought it for my 12 year old and now I remember again why it changed my life.
When you say, "…what we can say and what we can leave out," what do you mean? The conversation surrounding memoir is usually, what can be changed (abbreviated or exaggerated or combined), and what cannot—what changes constitute fictionalization, and which do not. Most poetry, I think, fits so easily into this conversation of fictionalization and lived experience.
LM: Oh gosh, I'm so new at this, I hadn't known that fictionalization was an option. It is? I mean, I get that dialog is recreated from faulty memory and perspective is just that, but we can't just change stuff, can we? I need to read more, and then more. What I mean by "what we can say and what we can leave out" is, well, like I wrote an essay called "My Last Black Eye," and it's all about what the title suggests, but I wanted to write it without talking about any of my other black eyes. Can I do that? Or, I wrote a hybrid prose poem/essay sort of thing about my experiences in a strip club in L.A. in the early '90s and I wrote it without ever explicitly naming certain experiences there. I don't even know if that makes sense. I think I both over- and under-share!
I mean, I think that the option of fictionalization is a part of that conversation. The abbreviation, exaggeration, or combination of actual events read, to me, as (slight) fictionalization, and yet, as a reader of memoir, I am entering into something of a contract with the author. I am reading their work knowing and understanding full-well that what they've written can never be exactly what happened. That's sort of the beauty of memoir, right? That it's the memory written? I don't know about yours, but my memory is hardly exact—when it shows itself at all.
LM: My memory sucks! I have huge gaps. And of course my memories are always going to be personal to me and through the lens of what mattered to me then and what matters to me now. Like, I'm not going to remember meals I had but I'll often remember what I wore. But I like to think this slight fictionalization is an accident of faulty memory and not intentional, because that would make it fiction, no? Or some kind of hybrid or "inspired by actual events?" I'm sure I'm not qualified to talk about this with any kind of authority, though.
In your Notes at your collection's end, you cite a number of songs as the inspirations for your poems. Were these songs you listened to while in the process of writing these poems, or songs from which you merely pulled fitting lines? If the latter (and this is pulling a page from Largehearted Boy), what did you listen to while writing and compiling Landscape? Further, what do you suggest your readers listen to while reading it?
LM: The epigraph I use from Hole is huge for me. I really feel like I must have written those lines myself. And the Live Through This album was in my mind, and in my ears, a lot when I wrote. So was Cyndi Lauper, from whose "Girls Just Wanna Have Fun" I quote in one poem. Her work, especially on the She's So Unusual album is so fucking feminist. I bought my first Ms. Magazine because Cyndi was on the cover!
I also quote from the Bob Dylan song "Things Have Changed" which a really brilliantly written song about a certain sort of middle aged manhood. So it didn't exactly fit in with the book, but the "fuck it" message of the song, mixed with the idea of wanting to, but not being able to, get away from oneself, spoke to me as I was writing the book.
Besides these songs I listened to endless Dolly Parton, of course, because Dolly. I'm kind of a dork about music, but, really, the songs I listened to on replay while writing this were all over the place. A sampling: "When You Were Mine" by Prince, Sinead O'Connor's version of "House of the Rising Sun," Tracy Chapman's "Bridges," Brandi Carlisle's "Josephine," "Thunder Road" by Bruce Springsteen, and all of Live Through This, as I mentioned, but also Hole's next album, which is the underappreciated Celebrity Skin.
I'd recommend listening to any of the above, but I don't think my readers need to listen to anything while reading me. Or, I should say, I don't listen to music when I read—it's distracting!
Thank you so much for allowing me to throw my long, convoluted questions at you, and again, congratulations on your beautiful and necessary book!
LM: Thank you so much for these seriously fabulous and thoughtful questions, and for your serious attention to my book. I'm grateful.
Lauren R. Korn also interviewed KMA Sullivan, Lynn Melnick's publisher at YesYes Books.
As Lynn's publisher, were you notified when Amazon rendered Landscape with Sex and Violence unsearchable on its website? If you were contacted, or if you contacted Amazon, what reasoning—other than "adult content"—were you given for their decision?
KMAS: YesYes was not informed that Amazon had rendered the title unsearchable and was not contacted when it when the book went back up. I contacted our distributor, Small Press Distribution, but they had no explanation for why Amazon had done this.
What was the reason the book was re-listed? I follow YesYes on social media and was aware of your calls to action, re: re-listing the book. Did these Instagram and Facebook posts—which may have resulted in many readers taking a stand—result in the re-listing?
KMAS: There were a number of people who contacted Amazon directly and were patient enough to get through many layers in order to talk to an actual human, including poets Timothy Donnelly and Tanya Olson, but they were not given an explanation as to why the book had been removed from direct searchability.
YesYes editors focused their attention on getting the word out and putting social media pressure on Amazon by calling them out directly via Twitter, Facebook, and Instagram.
How does YesYes gauge book sales? Are you able to look at the sales and distribution numbers for Landscape and see that the Amazon censorship and subsequent media surrounding that censorship effected book sales, either positively or negatively?
KMAS: This is difficult to answer since there was a healthy anticipation for Lynn's second book. Sales have been strong, but it's not clear what, if any of that, has been due to the Amazon situation.
Do you have any additional comments or information about publishing Landscape or working with Lynn you'd like to share?
KMAS: It is an absolute gift to work with Lynn. Here poetry is powerful and necessary. Beyond that, she is a writer of immense integrity and courage. I'm not sure people understand the amount of horrific shit she fields because of her relentless support of women in art. The trolling is shocking and disgusting. We all benefit from Lynn's work with VIDA and with the literary community at large. Someone should send her on a vacation!
Thank you for the opportunity to answer a few questions about Lynn's amazing second collection! And thank you for your time in getting the word out even further for Landscape with Sex and Violence.
Lauren R. Korn is a writer, reader, and graphic designer currently living in Fredericton, New Brunswick. Her work has appeared and is forthcoming.
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The first half of the twentieth century was a golden age of American storytelling. Mailboxes burgeoned with pulp magazines, conveying an endless variety of fiction. Comic strips, with their ongoing dramatic storylines, were a staple of the papers, eagerly followed by millions of readers. Families gathered around the radio, anxious to hear the exploits of their favorite heroes and villains. Before the emergence of television as a dominant—and stifling—cultural force, storytelling blossomed in America as audiences and artists alike embraced new mediums of expression. This examination of storytelling in America during the first half of the twentieth century covers comics, radio, and pulp magazines. Each was bolstered by new or improved technologies and used unique attributes to tell dramatic stories. Sections of the book cover each medium. One appendix gives a timeline for developments relative to the subject, and another highlights particular episodes and story arcs that typify radio drama. Illustrations and a bibliography are included.
This book explains the evolution of story telling in the pulps, radio, and comics. It is written as if DeForest was telling a story aloud. His passion for the material is immediately evident. This book is extremely comprehensive, but written in such a way that it could considered light reading. It has a personality of all its own and captures an unique era of American entertainment.
Tim DeForest lives in Sarasota, Florida, and is the circulation manager of the library at the Ringling School of Art and Design. His previously published articles cover a variety of subjects, from military history to the Wild West.


USA-North Korean relations remain very tense, although the threat of a new Korean War has thankfully receded. Still the U.S. government remains determined to tighten economic sanctions on North Korea and continues to plan for a military strike aimed at destroying the country's nuclear infrastructure.
A little more than a week after launching the strike that reportedly killed ISIS leader Abu Bakr Al Baghdadi, Russian navy ships and a submarine launched six cruise missiles at ISIS targets in Syria's Hama province, destroying an ISIS command center and ammunition depot, according to Russia Today.
An anthropogenic mass extinction is underway that will affect all life on the planet and humans will struggle to survive the phenomenon.
The U.S. trained and financed opposition has tried to create violent chaos in the streets but failed to gain traction with the majority of the people.
Experts all across the world are trying to figure out what's really fueling the Qatari-Saudi Cold War, but the answer is simple – the US.
Putin Tells Oliver Stone: "Snowden Is Not a Traitor"
What is Behind Kim Jong-un's Equilibrium Statement?
... involvement in regime change has been documented in 36 countries since WWII according to the Centre for Research on Globalisation.
... progressive policies, was silenced in favor of authoritarian capitalism, according to an article from the Center for Research on Globalization.


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