Favorite Ozarks Places – 17

Tags

caves, favorite_places, Ha Ha Tonka, history, karst topography, Lake of the Ozarks, springs

Ha Ha Tonka Spring

I generally avoid anything having to do with the Lake of the Ozarks, because it is so garish, messy, and utterly overcommercialized. But I have to admit that there are some beautiful scenic areas in that region, despite the overgrown forest of advertising signs that often obscures it.

One of those areas is Ha Ha Tonka, now a state park. Ha Ha Tonka was given its name by an early promoter who claimed that it was an Osage phrase that meant “laughing waters,” and if you believe that I’ve got a bridge to sell you. What it is, though, is a magnificent spring (pictured above) and a number of geologic features that are truly memorable.

It’s a wonderful place to see karst topography in its many forms. Water flowing through dolomite, with a sandstone overlay, has created a natural bridge (pictured below) and a deep chasm that connects the spring to the lake below. Before the lake, the spring fed the Niangua River, but nowadays that’s all beneath the surface. The remnants of a mill dam are still present, so one can easily imagine the community that existed there in the 19th and early 20th century.

The natural bridge at Ha Ha Tonka

The chasm is quite spectacular, similar to Grand Gulf farther south, and hiking trails wind through it in all directions. I wouldn’t recommend some of the trails for casual hikers; the rocky, rugged terrain makes for a tough clamber in some places. But there’s a paved path from the lake that nearly reaches the spring, until the rocks close in.

Most of the park’s visitors, though, visit the ruins of a big old house that overlooks the chasm from the north side. This mansion, optimistically referred to as a “castle” by the parks people, was begun in 1905 by a rich guy from Kansas City. He was killed in a car wreck the following year, but his sons continued with the construction of the house, which probably did have the best view in Missouri. It burned in 1942. I get the impression that the ruins, which the state parks people have stabilized, are preserved to maintain their current picturesque level of ruination. After all, it would lessen their attraction if they just went ahead and fell down.

Ha Ha Tonka spring, Castle in distance

As for myself, I’ve never been much interested in the opulent structures built by rich people, ruined or otherwise. The views from up there are excellent, though. Before the state obtained the property, Ha Ha Tonka was run as a private tourist attraction, with all kinds of fanciful names for the geographic features. The creation of the lake inundated some of those features, sparking a long legal battle between the owners and the electric company. The story of Ha Ha Tonka, both the geologic story and the story of the various humans fighting to profit from it, is told in excellent detail in Leland and Crystal Payton’s Damming the Osage.

Apropos of Nothing…

Tags

Current River, history, Missouri, rivers

Here’s a 1903 photo of the Current River in Carter County, Missouri.

Joel Vance

Tags

conservation, Conservation Department, government, honesty, Joel Vance, Missouri, Missouri Conservationist, outdoors, writers

On the left of this page is my “blogroll,” the list of blogs that I’ve found enjoyable, interesting, or worthy of a follow. You’ll see Joel Vance’s blog listed there, and I recommend you visit it.

His last post was November 20 of this year, not long ago, and it’s classic Vance. A consummate storyteller for many decades, Vance always put himself in the stories as the butt of the joke. His misadventures with a continuing cast of hunting dogs were a staple of his years with the Missouri Conservationist, the publication where I first read his work and for which he wrote during much of his career.

Sadly, I read in Brandon Butler’s column this morning that Joel Vance died Wednesday, at the age of 86.

Joel Vance didn’t just write funny stories. He also wrote about the joys of the Missouri outdoors and the threats to it. He wrote in a vivid, conversational style that let you know that you were getting the real Joel Vance, not some packaged PR, although of course the Conservationist is ultimately a PR publication. There was also a no-nonsense quality in his writing that let you know he was ready to call bullshit when he saw it, and I’m sure he saw plenty.

Brandon Butler remarks in his column that this quality of Vance’s writing inspired confidence in his readers and built a rapport with them that carried over into other areas. He specifically cites the passage of Missouri’s much-admired conservation sales tax, which drew on a reservoir of trust that the Conservation Department had built up over the years. I think there’s real merit in that observation, and it’s something that deserves more attention.

Why did people trust the Conservation Department enough to pass a dedicated sales tax? Lots of reasons, of course, but one is that the department, through people like Joel Vance, had been open and honest with the citizens of Missouri. They communicated effectively. As I used to say in my Principles of PR class back at Culver-Stockton, the first rule of good public relations is “Never lie.” And to expand further, “Never even allow youself to be suspected of lying. If something bad happens, deal with it head-on. You’ll suffer in the short term but build trust for the long term.”

Nowadays, we are living through one of the great health crises in our country’s history. We’ll top 300,000 deaths this week, maybe as early as tomorrow, and may potentially hit 400,000 by the time our new president is inaugurated. What would have our situation been like if our leaders at the federal and state level had followed Joel Vance’s example and addressed the situation plainly and honestly, without all the fudging, misdirection, and outright lying that we have seen over the past year? No one knows, but it’s plain to see that there is no reservoir of trust to draw on. Our governor and our president, and their myriads of enablers, have accustomed us to assume that the government is not being straight with us. It’s a sad state of affairs, and it will take a long time to reverse.

I imagine that eventually, Joel Vance’s blog will be deactivated. But for now, I’m leaving the link up at the side of my page, and I encourage you to read through his work. You may not always agree with what he says, but you’ll always know what he thinks and where he stands. And I guarantee that you’ll be entertained.

Rugged Individualism and Simple Bullheadedness

Tags

COVID-19, government, individualism, Mary Calhoun, Matthew Holloway, public health, self-reliance, stubbornness, Three Kinds of Stubborn

One of my favorite stories comes from my mother, who was visiting a nursing home one day when she happened to overhear a resident being comforted by his pastor. The resident was an old farmer, whose infirmities and age had consigned him to the home, and he was bemoaning his fate and wishing he could end it all. The pastor assured him that the simple fact he was alive meant that his purpose in life was not over, and that God still had something He wanted him to do.

The old coot considered this for a moment. “Well, I ain’t a-gonna do it,” he said.

Every time I think of this story I am reminded of Mary Calhoun’s marvelous 1972 children’s book Three Kinds of Stubborn, in which three stubborn Missourians get into a family dispute that keeps worsening because of their refusal to abandon their eccentric positions. The book is a gentle lesson in bending, in recognizing that none of us has a corner on truth, and in the wisdom of listening to others.

Stubbornness is a version of pride, an insistence that my opinion is superior to all others and that nobody has a right to tell me what to do. And pride, convention tells us, is a sin. In some ways, this stance is connected to the rural tradition of individualism and self-reliance, which I ordinarily think of as a virtue; but there are times when individualism and self-reliance become a hindrance rather than a help.

This is such a time, as I watch with dismay my fellow-citizens behave with deliberate and truculent ignorance toward those who need their help and who are trying to help them. The COVID pandemic requires concerted, collective action, with everyone pitching in to slow the spread of the virus by following a few simple health measures, and a coordinated government effort to enforce those health measures and to trace the contacts of those who come down with the illness. Instead, we see widespread refusal to wear masks, regular occurences of spreader events that pass the virus among groups, and a deliberately feeble government response in the name of “freedom” that allows cases to skyrocket.

My morning newspaper reports 105 people in the hospital with COVID today, a new record for the county, including 29 in intensive care and 16 on ventilators. The twist in this report is that only 20 out of the 105 are from Boone County, where I live. The other 85 are from outstate, from rural counties that don’t have the hospital capacity to treat them, or possibly don’t have a hospital at all. If “out of sight, out of mind” is true, then I would imagine that some inhabitants of these rural counties might not have a clear idea of just how widespread and dangerous this epidemic is, since the patients are whisked away to a distant hospital and their local government officials appear to be taking great pains to keep them in the dark. The state government’s COVID dashboard remains consistently behind the true numbers; if you want an accurate picture of the extent of COVID in Missouri, I recommend that you follow Matthew Holloway on Facebook. He’s a private citizen who, along with a number of helpers, has made it his personal mission to comb through local health department reports, media reports, and other public sources to come up with an accurate day-to-day account of the virus in Missouri.

It shouldn’t be this way. We shouldn’t have to argue with our fellow-citizens over simple health measures. We shouldn’t have to rely on motivated citizens to give us accurate statistics. Sometimes “I ain’t a-gonna to do it” is an admirable expression of defiance to the ruffian gods. Sometimes it’s just an obstinate refusal to acknowledge the obvious.

The Lure of the Ozarks

Tags

Conflict in the Ozarks, David Benac, Elder Mountain, fishing, literature, lumber, mining, Ozarks, Ozarks Symposium, Phil Howerton, tourism, West Plains

In 2016, I was honored to be asked to give the keynote at the annual Ozarks Studies Conference in West Plains. The theme of the conference that year was “The Lure of the Ozarks,” so I decided to play on that theme for my talk. My title was “The Lure of the Ozarks: What’s the Bait and Who’s the Fish?”

The good folks at Elder Mountain took my talk, tweaked it a little, and published it in their most recent issue. As editor Phil Howerton aptly describes the issue, it’s a whopper . . . a double issue of 290 pages.

I’m reprinting a passage from near the opening of my talk below. Literary journals need all the help they can get, so if you’d like to read the whole thing, I encourage you to take a look at the issue’s impressive table of contents here and then use the purchase link here. You won’t regret it!

To speak of the lure of the Ozarks, appropriately enough, is to use the language of the fisherman, and prompts the metaphorical question of who is the fisher and who is the caught. Nowadays our talk about the lure of the Ozarks typically involves tourism, and rightly so, as it has become a mainstay of the Ozarks economy. Certainly tourism is a pretty benign sort of catchery . . . I suppose we could extend the metaphor and call tourism the “catch and release” version of the Ozarks’ lure.

But from the earliest times, people have come to the Ozarks to take away something more tangible. From Pierre Renaud down to the Doe Run Lead Company, the Ozarks have been a source of minerals and ore. The Missouri Lumber and Mining Company and its fellow timber harvesting enterprises did the same thing from the 1880s through the early twentieth century. In a general way, I think you’d have to describe the Ozarks as a kind of internal colony of the United States, a place from which to extract value at the lowest possible cost while returning as little as possible. As David Benac observes in his book Conflict in the Ozarks, a significant component of the Ozarks timber boom consisted of companies seeking to “tame” their workers, to bring them into compliance with the needs of an industrial-age enterprise concerning punctuality, sobriety, and adherence to the concept of “working hours” instead of living their lives by the clock of the seasons. What drew these entrepreneurs and companies to the Ozarks was what they could extract from it, and that’s a facet of this landscape that will never go away. I recall during the years of my childhood that every town in the area had its factory – shoe factories, shirt factories, hat factories, that sort of thing – each one staffed mainly by women paid on a piecework basis, overseen by men. It wasn’t until the advent of the global marketplace that these companies discovered they could find workers elsewhere who were even more impoverished and who had even fewer options than the Ozarkers, and relocated their factories elsewhere. For an industry that needed unskilled workers to perform repetitious tasks, the Ozarks must have seemed like a little slice of heaven for a time.

And then there’s escape, that time-honored lure of the Ozarks. Dad Howitt, the Shepherd of the Hills, came to the Ozarks to escape the noise of the city and the memories of his past, and ever since then one of the dominant themes of Ozarks culture has been that of the mountains as a place of refuge. Trappist monks came here, and the Harmonial Vegetarian Society, and so did Bonnie and Clyde. The hollows overflow with people who have come to the Ozarks for one sort of escape or another, whether it’s from the traffic jams of the city or the long arm of the law. My own experience with these transplants has been overwhelmingly positive. People drawn to the Ozarks from elsewhere bring energy, new ideas, and often a fresh infusion of money to communities that need all three. Unfortunately, the Ozarks’ mind-our-own-business reputation also draws the occasional Frazier Glenn Miller among the retired ad executives seeking a quiet place to meditate beside a stream.

Favorite Ozarks Books – 15

Tags

Dahlia's Gone, Eleven Point, Favorite Ozarks Books, Katie Estill, novels, Oregon County

I ran across a chapter of this book in The Literature of the Ozarks, a book that I have written about before. I’d heard of Katie Estill, but somehow had overlooked her novels. So I went out and found myself a copy.

I started reading it a couple of days ago, and it’s a marvel. It begins (or very nearly so) with a murder, but it’s not a mystery, nor is it what one would call a “thriller,” although it does have plenty of police procedure in it. It also has some adult passages with adults doing, well, what adults do. So it’s not exactly a “romance,” either, although there’s love in it, of the most aching and true sort.

It’s set in a county that feels a lot like Oregon County, Missouri, with a river that runs through it (in the novel, it’s the Seven Point, not the Eleven Point as in the real-life county, but let’s not quibble over the number of points). And it has a triumvirate of main characters, three women, all of whom suffer and struggle in the course of the book, and who don’t particularly get along, and who discover that they have common aims and needs despite that. One is a deputy sheriff; one is a woman who has recently returned to the county after a time away; and one is a newer arrival. The murder connects them, divides them, and connects them again.

It’s a beautiful book that defies categorization, and it contains some lovely passages of description of the Ozarks landscape, of the interior thinking of its main characters, and of the mental and emotional negotiations they go through to achieve some answers and some peace. It was published in 2007, but the characters’ travails are as relevant today as they were then. You may have to hunt for a copy, as I suspect it’s gone out of print; but it’s worth the search.

Playing the Stereotype

Tags

KWTO, Les Paul, movies, music, Ozark Jubilee, Ozarks, stereotypes, Thomas Peters, writing

On Facebook, I’ve been following the progress of Thomas Peters’ book on radio station KWTO and the Ozark Jubilee with great interest. It’s going to be a great addition to the Ozarks history bookshelf! He’s been posting some of the photos he’s collected for the book, and this morning he posted this beauty:

That’s an 18-year-old Les Paul on the right, performing with his friend Sunny Joe Wolverton on KWTO as the Ozark Apple Knockers. A far cry from the urbane, sophisticated jazz pioneer he later became, the occupant of more halls of fame than one would care to count. Everybody has to start somewhere, and for Paul it was playing hillbilly music under the stage name “Rhubarb Red.”

When I saw this picture, for some reason I thought of a movie I had recently rewatched, the Coen Brothers’ The Ballad of Buster Scruggs. Buster (Tim Blake Nelson) opens the movie in full cowboy-movie garb, singing “Cool Water” as he rides through Monument Valley. Of course, the joke (or part of the joke) is that “Cool Water” is not a historic cowboy song at all, but a pop hit of the 1940s.

What follows is a series of ghastly/comic episodes that both play on Western-story stereotypes and embrace them, just as the “hillbilly” image both mocks, uses, and embraces that stereotype as well.

We make art where we find it, with the materials at hand. Sometimes those materials include simplified versions of ourselves, and then we must decide whether to challenge the stereotype or play with it. I think either decision can work, as long as the stereotype is approached with conscious intent. It’s when stereotypes are presented unconsciously and uncritically that they harm. The rural rustic, the hayseed, has been with us since Greek comedy, and we will probably never get rid of it. So we might as well play with that image as we move toward the larger points we are trying to make in our literary and creative work.

What truly prompted me toward these thoughts, though, was the news that the former Dogpatch USA property had been bought by Johnny Morris of Bass Pro Shops fame. I’ve never met Johnny, although some friends of mine know him and speak very highly of him. While Bass Pro is the business that made him a billionaire, it’s the other Morris properties that play the Ozark stereotypes: Big Cedar Lodge, Top of the Rock golf course, and Dogwood Canyon (which is owned by a linked foundation). These properties present a sanitized, tidied-up version of the mythic Ozarks that people just love and are willing to pay handsomely to experience; a single-day admission to Dogwood Canyon will set you back $20, and it’s another $32 to ride the tram. Assuming you brought your own bicycle or are up for the walk, you can see a mill, an Indian burial cave, a wilderness chapel, some waterfalls, a trapper’s cabin, and other sites, all skillfully manufactured and manicured to achieve a perfect match of product and expectation.

This is progress, I suppose. The old Dogpatch attraction played on an earlier generation of stereotypes, barefoot hillbillies and moonshine stills. It will be interesting to see what becomes of it under its new owner. I’m guessing it won’t stray far from the formula that has made the other attractions so popular.

Juneteenth, Part Two

Tags

Black Lives Matter, Eminence, flag, Fredericktown, Free speech, Madison County, protests, racism, Shannon County

A week ago, I posted some reflections on the Juneteenth observances around the country, and remarked that we still have a long way to go before the legacy of slavery is cleared away, or even rendered less harmful than it remains today. At the time, I wasn’t thinking in particularly immediate terms, but two days ago an event in my hometown brought that observation to life in a particularly ugly way.

A group of (mostly) young folks organized a demonstration in the courthouse square in Fredericktown, Missouri, the place where I grew up for the first ten years of my life and where I still have family connections and strong emotional ties. That’s a picture of them above, and another one here:

Threatening-looking, aren’t they?

Apparently the rumor mill had been active before the event, with the current crazy talk of “busloads of protesters” and such. A local businessman organized a counter-demonstration, and it attracted a sizable crowd of racists, nutcases, curiosity-seekers, and, presumably, some decent-minded people. Here’s a few of them:

The counter-demonstrators, many of whom were heavily armed, attempted to disrupt and intimidate the demonstrators by circling the courthouse square with their speakers blaring, trying to drown them out, and more troubling, they positioned themselves in high positions above the demonstrators with weapons visible:

I’m no weapons expert, but that sure looks like a silencer or flash suppressor on the rifle in that last photo.

The groups exchanged some yelling, but thankfully the police (who were considerably outnumbered) managed to keep the counter-demonstrators from attacking the demonstrators for the most part, although eyewitnesses said the counter-demonstrators were clearly looking for an excuse to start violence. At one point one of the demonstrators attempted to unfurl an American flag and was attacked by one of the counter-demonstrators, who was clearly armed:

You can see the outline of his pistol pretty plainly in this photo. These last two pictures, by the way, are from Ramblin Hamlin Photography, which was on the scene. I took the other pictures from Imgur.

The most aggressive act from the demonstrators, by contrast, might have been a slightly ragged version of the Electric Slide (that’s right, the Electric Slide):

(also from Ramblin Hamlin Photography)

Social media has been burning up since then, with two major themes: Those racists don’t represent our community – we’re good people! (Or at least I’m not a racist) and A lot of those demonstrators weren’t from Fredericktown – why didn’t they protest in their own town? Both good issues to raise. I guess my thought on the first one is that if you don’t want a bunch of racist lunatics to represent your community, at least in the minds of others, then you had better get out there and join the demonstration and make sure that your community comes down firmly on the side of racial justice. Otherwise the people who see the pictures will believe that the racists do represent you, because you have allowed them to. And on the second point, the home location of the demonstrators is not relevant for the same reason. I am told that one of the most obnoxious counter-demonstrators, who made gestures and said things that I will not describe or repeat here, was from Centerville. Well, if he got to come to the Madison County Courthouse and make a fool of himself, then I suppose some kids from Farmington are just as entitled to come down and demonstrate.

It saddens me to see such a disgraceful display in my hometown. Yes, Fredericktown has lots of lovely, non-racist people in it. Some of them showed up in the courthouse square on Wednesday, only to be spat at, threatened, and called vile names. So now the town is branded as a racist haven in the eyes of others, and if the citizens want to have that label removed, they’ll have to do it themselves by their words and deeds.

A COUPLE OF UPDATES: One of the demonstrators contacted me and let me know that some of the heavily armed, camouflage-wearing militia members actually performed a beneficial service, helping to keep the mob away from the demonstrators and escorting them to their cars and to the bathroom. That was good to hear, and it complicates the easy black-and-white narrative.

In addition, the town of Eminence, in Shannon County, came close to out-embarrassing Fredericktown on Saturday, the 27th. The sheriff there, in the midst of a re-election campaign, announced on social media that he had received a “credible threat,” which quickly brought the same unfounded rumors of “busloads of BLM and Antifa rioters” and resulted in about a hundred people, once again armed to the teeth, who parked at the courthouse or circled the square, crowing about their patriotism and vowing violence on any protesters who dared to show up. Video footage of this event shows a weird, carnival-like atmosphere, a combination of party and lynch mob. As it turned out, the “credible threat” was a complaint from a mother who was unhappy with the investigation of the 2018 death of her son, and the whole BLM/Antifa thing was complete baloney.  I’m not sure which community has cast itself in a worse light: the one that had an ugly response to an actual demonstration, or the one that had an ugly response to an imaginary one.

Favorite Ozarks Books – 14

Tags

books, Buffalo, columns, Cornerpost Press, essays, Favorite Ozarks Books, Jim Hamilton, newspapers, Ozarks, reviews, rural life

This review first appeared in Elder Mountain.

The newspaper column is a surprisingly difficult genre: strict word count limits, inflexible deadlines, and the necessity to be both original and familiar to a broad spectrum of readers. Jim Hamilton is a master practitioner of the form. For more than forty years, he wrote columns for the Buffalo Reflex, and a collection of his early columns, River of Used to Be, holds a valued place on my bookshelf. Now comes a new collection, Ozarks RFD: Selected Essays 2010-2015, taken from the most recent decade and published by a new press.

Readers of a certain age will remember when writing a newspaper column was a prestigious perch reserved for those who had proved themselves to be exemplary reporters and writers. On the national scene, Mike Royko, Molly Ivins, Jimmy Breslin, and others swayed political debates. In the Ozarks, Jean Bell Mosley and Thomza Zimmerman, Leonard Hall, and Sue Hubbell reported from their homes and farmsteads on the rhythms of life in nature and community. Hamilton’s columns are in that vein – observant, nostalgic, rarely offering comment on current events.

That doesn’t mean they are shallow, though. The columns regularly steer through emotional shoals. Hamilton writes with painful honesty about losing a wife to cancer and a daughter to a car crash, and about the more general disasters that befall a nation and a community. Faithful dogs and treasured fishing holes inhabit these pages, but so do wars and calamities.

I suspect, though, that the columns most readers will respond to are his reminiscences of childhood in the Ozarks. Hamilton has a gift for memory that reveals itself through precision; the word pictures in these columns are detailed, vivid, and evocative. Perhaps one of the signs of love is noticing, and if that’s the case these columns are just about as loving as one can get these days. Jim Hamilton seems to have noticed, and remembered, everything that ever happened to him.

Is there repetition among them? Sure. One of the pitfalls of a newspaper column is the obligation to produce material on deadline, again and again, week after week, and no columnist escapes the repetition trap forever. But even when he’s returning to a familiar subject or theme, Hamilton finds a way to approach it in a different way, shedding light from a different angle. Still, as with all collections of columns, these are best read in modest amounts. A newspaper column is literature in bite-sized form; as with all bite-sized things, they are better enjoyed when consumed at a moderate pace.

Hamilton’s columns capture a moment, dig deep into a memory, analyze an emotion. Each column is a finely crafted exploration of an experience or recollection, and although you can see their origins in the deadline-driven world of newspaper production, they transcend those origins and offer us lasting insights. There’s both sweetness and precision in these columns, a combination that is hard to pull off and even harder to sustain. This collection of work is a real joy.

Jim Hamilton

Favorite Ozarks People – 16

Tags

art, craft, craftsmanship, Favorite Ozarks People, Ironton, Isla Armfield, Mountain Echo, printing, Richard Armfield, Wilbur Larkin

After my family moved from Fredericktown to our farm on the Black River, my mother wrote freelance articles for the Mountain Echo in Ironton, which was then owned by Richard and Isla Armfield. They were a lovely pair or people, old-fashioned newspaper folks down to their toes. Richard suffered from Parkinson’s disease, which ultimately led to their selling the paper, but when I knew him he just walked with an odd gait and showed a minor tremor in his hands. Isla was an elegant dresser and extremely cordial, who was engaged in all sorts of community groups.

But the person I’m thinking about today was one of the back-shop guys, a printer named Wilbur Larkin. Sometimes when my mom traveled to Ironton I would accompany her, and I always found myself drifting into the back shop to watch the printers work. Although the paper was printed elsewhere, the Mountain Echo had a thriving job printing business, with Wilbur and another gentleman whose name will occur to me as I continue (I hope – I think it was Kenneth, but can’t be sure).

Wilbur was the master of two machines. One was a Linotype, an honest-to-goodness Linotype, which fascinated me to no end. I remember the distinctive, horrid smell of molten lead that emanated from the machine when Wilbur fired it up; there was a container on top, where he would toss in some lead blanks and whatever waste pieces of type were lying around from previous jobs, and once the lead had melted properly, he would set the font size and line width and then begin typing the new job on a weird keyboard that bore little resemblance to the standard QWERTY keyboard used by everything else. Lead would run down a little channel and be formed, letter by letter, into a line of type (thus the name), which would then be ejected into a receiving rack on the side. I was always warned to keep my hands away from the finished product, because as you can imagine, it stayed hot for quite a while. It was like watching a cathedral organist at work: intense, concentrated hand movements on an oversized apparatus, incomprehensible to the casual observer.

By Unknown author – Popular Science Monthly Volume 40, Public Domain, https://commons.wikimedia.org/w/index.php?curid=12205750

The other machine was a platen press. This one was electric, although there was a treadle-operated one elsewhere in the shop. Wilbur would daub a paddleful of ink (also strictly do-not-touch) onto the platen, then gradually accelerate into the on-off rhythm of placing a sheet of paper or posterboard into the frame in the moment of open space when the inked lettering was retreating from contact while simultaneously removing the newly printed sheet. Left hand out, right hand in. It was beautiful to watch, made even more so by the fact, repeated to me more than once, that despite the gentle, musical clanking of the machine, any finger that happened to be between paper and type at the moment of printing would be crushed. The platen press was mainly used for posters, and Wilbur kept several composing sticks hanging on the wall in which he would set the type; for the largest sizes, display type over an inch tall, he actually used wooden letterblocks instead of metal ones. I marveled at the cases of two- and three-inch type from which he would pluck the needed words: the number of letters was limited, so if your poster was something like “Massasoit for Assessor,” it might require two passes on the printing press so that the s’s could be reset onto the second line. Years later, I found a couple of job sticks and a type case at a garage sale; I bought them and still have them as souvenirs.

Wilbur was a soft-spoken man who didn’t seem bothered by my presence but didn’t exactly encourage it, either. But he tolerated me, let me watch, and answered my questions with patient good humor.

Few things in life are as satisfying as the sense of mastery: of a subject, a challenge, a tool, an activity. It’s always thrilling to watch someone who’s a master: I think that’s part of the reason for the popularity of professional sports, watching people whose skills are so clearly at a peak. But mastery takes many forms, all of which deserve honor. We tend to associate mastery with physical skills and to bemoan their diminishment. To some extent, that’s true; there’s aren’t as many master saddlemakers or quilters as there once were. But we shouldn’t overlook other forms of mastery. Over the years I’ve been fortunate to watch other masters, digital masters, at work, with design programs, data management programs, and others. And the speed and assuredness with which they work is just as thrilling to me. It’s just as amazing to watch over the shoulder of someone who’s creating a unique design on screen as it was to watch my dad peer into the innards of malfunctioning hay baler out in the field and diagnose its problem within a few minutes, or to watch Wilbur Larkin perform a sonata on the Linotype.