In the weeks and months following the amazing story of survival in the Adirondacks in January 1935, when the four-man crew of a downed Curtis Condor plane were rescued from the clutches of death, further details surfaced in the media. The two uninjured passengers had considered striking off to the south in search of help. Said one of their rescuers, Leonard Partello: “They would never have come out alive. They would have had to go fifteen miles through heavy snow without food. It couldn’t be done.”
The ultimate blame for the incident was placed on the company. No qualified dispatcher was on hand in Syracuse to authorize the flight in terrible weather, which was allowed after a call to the Newark office. That near-fatal decision was countered by the great flying skills of Ernest Dryer. » Continue Reading.
Artists find their way around the world differently than most people. This is clearly evident in “Mapping the Familiar: Artist Maps of Saranac Lake”, which opened last week at the Adirondack Artists Guild Gallery in that village. The exhibit was curated by Jess Ackerson, a young artist, printmaker who lives and works in Saranac Lake. Each artist was invited to interpret the concept of the show in their own individual way – and all the pieces in the show are very unique. When I find my way somewhere, I am inclined to rely upon visual “signposts” – usually natural landforms. Even in an urban environment, I find myself locating the sun, when possible, so I’ll know which way is north, and I might mark my course by remembering to turn at the big tree on the corner where the road goes uphill rather than the name of the street intersection. This might be evident when a viewer examines my piece in the exhibit because I have no map in it, but I do have many of the views that one sees when in Saranac Lake.
There are several pieces in the show which are clearly maps – but maps interpreted through what the individual artists found interesting. Diane Leifheit’s map is a detailed ink drawing/silkscreen print that depicts the course of the Saranac River and the various bridges within the community, along with hand-scripted anecdotal notations. Peter Seward’s “The Resettlement of Saranac Lake” is “a whimsical depiction of the challenges faced inhabiting a wilderness”. It is reminiscent of the fanciful maps of drawn by early explorers and even has an area identified as “terra incognito”.
Mayor Clyde Rabideau, who once boasted of some interest in the arts, was also invited to contribute a piece. His cartoon style drawing of a map of the community shows the pride he feels in the village and looks like something you might have seen in a 1950’s tourism brochure! It’s title was derived from the locally known Dew Drop Inn and Mr. Rabideau wrote in his artists statement “for many generations, thousands of people have, indeed, “dropped-in” to Saranac Lake and never left, making it their permanent home”.
Some of the other pieces in the show have more emphasis on the “art” and less on the “map” although the village map has worked it’s way into the individual images. Jess Ackerson’s three color reduction lino-cut, silkscreen and colored pencil piece combines the map with other bold images like a rainbow, a compass star and a labyrinth. In her statement Jess wrote “This map is actually a maze. It’s an attempt to describe what it takes to be present while we navigate the transition from past, where there were so many other paths we could have taken, to the future.” Eric Ackerson created a labyrinth of intertwining map and snake forms titled – “A Ransack Illegal Fovea” – which happens to be an anagram for Village of Saranac Lake.
In addition to the 10 artist creations, there is also a large, interactive “Community Map” where gallery visitors are invited to draw and write upon it their special spots or trails in the village.
Find your own way to this unique and thought provoking exhibit – the Adirondack Artists Guild is located on Main Street in Saranac Lake and the exhibit will be up through January 29.
Governor Andrew Cuomo delivered an inspiring State of the State message, which I heard on the radio this week. He invoked the past, gave us all hope for the future, and had a long list of policy accomplishments to point to. He pointed to the need to invest state dollars in the upstate New York economy, especially people who are struggling in Buffalo and surroundings. He spoke up for major state investment in our aging infrastructure. He spoke glowingly of the performance of his economic development councils, and public-private partnerships. If I had to sum it up, in his speech the governor tried to set a high standard for New York, and inspire its citizens to reach for such a standard.
However, the governor said nothing about the high standards of New York’s environment, and how much the state benefits from this condition. One very distinguishing high standard for New York State is and has been its tremendous water supply and water quality, which derives from its undeveloped, mountain forest headwaters – in the Catskill Mountains, in the Finger Lakes, in the Adirondack Park, in the Long Island Pine Barrens, in the Schenectady aquifer, and found in many other very valuable, special places. Lt. Governor Robert Duffy, a former upstate Mayor, understood the value of watersheds for his City of Rochester. As Mayor, he championed the Environmental Protection Fund for its role in preserving his city’s clean water supply from the Finger Lakes.
Governors should never forget how, for instance, the three million acre Forest Preserve in the Adirondack and Catskill Parks distinguishes the state from every other state, and every other nation on earth. These wild lands, just hours distant from twelve million people, provide water to urban and suburban areas which does not require filtration to meet clean drinking water standards. These wild watersheds provide nature benefits which, if they became polluted and not usable, would cost the state many billions of dollars, with untold other costs not measurable in dollars.
In his formal office at the Capitol, Governor Andrew Cuomo has replaced the portrait of former Governor Theodore Roosevelt with one of a former Governor he admires even more, Al Smith. Regarding a proposal to dam an Adirondack river for hydroelectricity back in 1926, here is what then Governor Al Smith had to say about the Forest Preserve:
“In view of the definite attitude of the people of the State with regard to the preservation of their rights in the Forest Preserve, and in view of the further fact that by no stretch of the imagination can this River Regulating District be brought within the purview of the Constitution, I respectfully suggest that the application be denied” (it was).
On another occasion, Governor Al Smith said:
“We owe it not only to ourselves but to the generations to come that the Adirondack Preserve be kept the property of all the people of the state, and should any part of it be flooded, the floodings should be restricted to the public benefit now set forth in the constitution and not for exploitation by private interests.”
Al Smith thought past his own generation, and understood the long-term values of protected Adirondack watersheds. He is the same governor who blocked his ally, the powerful parks council chairman and builder Robert Moses, from constructing an automobile “tourway” around the shore of Tongue Mountain by buying the mountain for the Forest Preserve. Smith also opposed Moses in his bid to construct rustic motels, roads, and gas stations in the Adirondack Forest Preserve. He is the same governor who in 1924 put up a state bond for $15 million – a great sum in its day – to acquire Forest Preserve, including many miles of the eastern Lake George waterfront for the public.
I am hopeful that Governor Cuomo pays attention to this part of Al Smith’s legacy, and internalizes for himself the great competitive advantages in keeping and wherever possible expanding the quantity and quality of large blocks of intact, forested landscapes, many of which are embedded within our State’s Constitution.
Yes, Governor Cuomo and his team have pledged not to compromise “forever wild” principles, which of course is entirely laudable and sensible from an economic as well as environmental perspective.
But isn’t it long past time simply to treat “forever wild” as a rule not to flout, and limited to just the Adirondack and Catskill Parks? Why should it not be an eminently successful and advantageous ethic and policy to embrace and affirm in a State of the State address? Why not propose to strengthen the state’s environmental quality review to measure and control the carbon emissions of many different types of development? Why not study the advantages of expanding the boundaries of the Catskill or Adirondack Parks? Why not pledge to acquire Follensby Pond, or the Essex Chain of Lakes? Why not embrace the Park’s status as an International Biosphere Reserve, and encourage the world to invest in climate and ecological research here? Why not assure localities of the full taxation of the public’s Forest Preserve by placing such a commitment within the Constitution itself? If, in the environmental resilience it gives us, and in its component parts “forever wild” is indispensable as policy, why not develop ideas to investigate and stop any degradation? Why not buttress it, and offer incentives for state and localities to expand upon forever wild in other parts of the state?
One answer may be that there are always strong temptations, matched by lack of awareness and understanding, which can result in great damage in order to achieve short-term ends, even in the Adirondacks and Catskills, much more so everywhere else. Hydraulic fracturing for gas, on the scale contemplated (several thousand permits per year), will forestall the re-wilding of watersheds across a million or more acres of the state. The spidering of roads, trucking, lighting and drilling from the Marcellus shale formations will industrialize a good bit of the state’s rural landscapes, damaging what are now pretty intact forested uplands, wetlands, streams. Were the values of these landscapes monetized, and their nature benefits calculated, the cost-benefit analysis of hydraulic fracturing might be weighted heavily on the cost side of the equation.
Another example where the governor’s high standards are not yet being applied is his Adirondack Park Agency, which should be setting the highest standard for review of development, as well as promotion of applied “smart growth.” Instead, the Agency may be poised to deliver a permit for the worst kind of speculative, sprawling subdivision in its history – the Adirondack Club and Resort – which has failed to properly value its forests, watersheds, water quality, and wildlife, and which greatly overestimated its real estate, tax and sales projections – in a Park which the statutes say must be protected for future generations, and must avoid unnecessary environmental impacts.
Many Governors, and their Lieutenant Governors, in depressed and good economic times, have embraced the idea that managing forest land for ecological integrity is their highest and best use. These leaders have done so despite the ever-present siren song of short-sighted exploitation. Consider these words of Lt. Governor Frank Moore, c. 1951, during an address at the Buffalo convention of the New York State Conservation Council:
“Over the years the greatest enemy of the Adirondacks has been man himself. For almost a century the fight has continued to protect them from the despoiler…The people of the state unquestionably need more water power, but the place to get this…is from the Niagara and St. Lawrence, not by destroying the virgin forests of our great Preserve; not by destroying the Adirondack sponge which is providing our greatest water reservoir. In the solution of our water supply problems in this State we may find our greatest asset to be the Forest Preserve.”
The same could be said today by Governor Cuomo or Lt. Governor Duffy concerning carbon storage and sequestration, stormwater management, water quality to urban and rural areas, and educational, recreational and tourism benefits, among many others. Your honors, it’s a year to go beyond lip service, and embrace our wild watersheds.
Photos: Elk Lake and the High Peaks beyond; Article 14, Sect. 1, NYS Constitution.
On my way through the Adirondacks, while traveling for the holidays, I stopped at View, the Arts Center in Old Forge, to see “Adirondack View Finders: Farb, Battaglia, Bowie, Heilman”. As I walked through the galleries of photos I kept waiting for one to jump out at me – to say “hey, this is new and different – look at me” and it wasn’t happening.
Don’t get me wrong, this is an outstanding exhibition of photographs. Nathan Farb’s work can take your breath away with the incredible details. Nancie Battaglia is exhibiting some striking sepia tone images. Mark Bowie has some low light nighttime exposures with amazing results and Carl Heilman’s panoramas pull you into the space so much you feel like you are right there with him on a mountain summit. All good – but all things I had seen before. In adjoining galleries there are additional photographs: “Emerging Views,” featuring works by Johnathan A Esper – who sometimes climbs up big white pines to get some wonderful panoramic views; Leslie Dixon and Clark Lubbs, both of whom are showing lovely, intimate views of the natural world.
Finally, there are photos from an exhibit called “Teacher’s Turn: Instructors from the Adirondack Photography Institute.” Another batch of terrific images from Eric Dresser, Joe LeFevre, John Radigan and Carl Rubino. Here is where my inner spirit was moved. We’ve all seen cute bear cub photos, or monster buck images that make you wonder if the photographer was shooting animals contained on a game preserve. Eric Dresser’s photos seem to just take you to the place – you feel like you were stepping softly through the forest and chanced upon these animals without disturbing them. Not overly cute, nor dramatic, just a beautifully composed, captured moments in the life of wild creatures.
However the photos that made me stop and walk back to look at them again were some relatively small images perhaps in the 12×18” size, by John Radigan. Not dramatic, nor extreme in detail or view, but subtle, soft painterly moments in time. In fact they looked more like paintings than photographs – printed on lovely paper with torn edges. I thought they were something like polaroid transfer prints, but after contacting the artist, he explained that “the series of images for the View exhibit were made using an Epson archival inkjet printer on watercolor stock. The image edges were made manually using Photoshop to approximate edge effects like an acid burn, etc. The paper edges are hand torn. The images themselves were captured using various in-camera techniques such as multi-exposure, long exposure blur and image overlay. No computer tricks were used.”
This photography exhibit is definitely worth seeing for it’s breadth, depth, and excellence. And if the opportunity to wander through the Adirondacks via the captured images of all these photographers is not enough, then consider the sixty-eight pieces of native stone sculptures tastefully placed throughout the galleries by Keene Valley artist Matt Horner. Soft, organic forms of hard Adirondack rock! A final bonus is a slide show in an adjoining gallery of Nathan Farb’s striking images of the devastation of Hurricane Irene. Worth seeing as a reminder of the awesome power of nature. The overwhelming response to this natural disaster cleaned things up so quickly it’s easy to forget how bad it really was.
These exhibits will be on display until January 29 at View in Old Forge. Correction: “Adirondack Viewfinders” will remain on exhibit until March 3. Hours are Monday through Thursday, 10 – 4, Friday and Saturday from 10 – 5, and Sunday from noon to 4 pm. Admission is $10/$5 for members. 315-369-6411.
In modern times, photographs accompanying newspaper stories are sent around the world in digital format, utilizing the latest technology. But for half a century, from 1935 to 1989, the Wirephoto Service of the Associated Press was the industry standard. Prior to that time, the text of stories was sent by wire, but photographs for newsprint were shipped the same way mail and other urgent items were: by train or by plane.
Even by the speediest of methods, it could take more than three days for photographs to arrive. When the dramatic advancement came in 1935 to an instant process, the Adirondacks were linked forever with communications’ history. » Continue Reading.
The New York State Department of Environmental Conservation (NYSDEC), Adirondack Architectural Heritage (AARCH), the Town of Newcomb, and the Adirondack Ecological Center have announced that historic Camp Santanoni in Newcomb will be open for three special long “open house” weekends this winter. Over these weekends, cross-country skiers and snowshoers will be able to visit the Gatelodge and Main Lodge, get short interpretive tours with AARCH staff, and warm up at the Artist’s Studio before the return trip. These weekends will be January 14-16, February 18-20, and March 17-18. Camp Santanoni was built beginning in 1892 by Robert and Anna Pruyn and eventually consisted of more than four dozen buildings on 12,900 acres including a working farm, Gatelodge complex, and a huge rustic Main Lodge and other camp buildings situated on Newcomb Lake. Santanoni was in private ownership until 1972 and over the last several decades, in state ownership, it has gradually been restored by a partnership between NYSDEC, AARCH, and the Town of Newcomb. Santanoni is listed on the National Register of Historic Places and is a National Historic Landmark.
Camp Santanoni is one of the most popular cross-country ski destinations in the Adirondacks, and for good reason. The snow conditions are usually excellent, the trip itself is of only moderate intensity, and the camp on its remote lakeside setting makes for an interesting and most beautiful destination. The round-trip cross-country ski and showshoe trip is 9.8 miles on a gently sloping carriage road. People may visit Santanoni 365 days a year but these weekends are rare opportunities to visit the camp in winter, have a brief tour, and have a place to warm up.
As snow conditions so far in 2012 have been light, it is best to check in advance to make sure the road is suitable for skiing.
The first program of the Adirondack Museum’s 2012 Cabin Fever Sunday series, “Chester Gillette: The Adirondacks’ Most Famous Murder Case” will be held on Sunday, January 15, 2012.
It’s the stuff movies are made of- a secret relationship, a pregnancy and a murder. Over a century after it happened in Big Moose Lake, Herkimer County, the Chester Gillette murder case of 1906 is the murder that will never die. The murder of Grace Brown and the case following was the subject of Theodore Dreiser’s 1925 book An American Tragedy, and the Hollywood movie A Place in the Sun. The story continues to be told today with a 1999 Opera at the Metropolitan Opera in New York and in a 2011 documentary North Woods Elegy. Author Craig Brandon, considered among the world’s foremost experts on the case, and author of Murder in the Adirondacks, will present and lead a discussion.
Craig Brandon is a national award-winning author of six books of popular history and public affairs and a former award-winning reporter.
Held in the Auditorium, the program will begin at 1:30 p.m. Cabin Fever Sundays are offered at no charge to museum members or children of elementary school age and younger. The fee for non-members is $5.00. The Museum Store and Visitor Center will be open from noon to 4 p.m. For additional information, please call (518) 352-7311, ext. 128 or visit www.adirondackmuseum.org.
When the Adirondack Carousel is completed it’s going to be a moveable feast for the eyes. Kids (and adults) will love to take a ride on it and surely will pick out their favorite animal. (I always had a favorite horse on the carousel I rode as a child at the Wisconsin State Fair). But besides the traditional thrill of the ride, this carousel is going to be an amazing work of moveable art.
First of all, the carved wooden animals are all unique and all native to the Adirondacks, rather than the traditional leaping horses. Talented wood carvers from all over the country have donated their time to create these animals. » Continue Reading.
Please join us in welcoming our newest contributor here at Adirondack Almanack, local artist Sandra Hildreth. Sandy, who will be writing regularly about Adirondack arts and culture, grew up in rural Wisconsin and is a retired high school art teacher ahving spent 29 years with the Madrid-Waddington School District in northern New York.
She moved to Saranac Lake in 2004 to live where she was spending much of her time anyway – hiking, paddling, skiing, and painting. Today, Sandy spends much of her time Plein air painting – working outdoors from nature as an exhibiting member of the Adirondack Artists’ Guild in Saranac Lake. She is also active in Saranac Lake ArtWorks.
Late on the night of October 16, 1859, Adirondack abolitionist John Brown led 18 well-armed men on a raid of the federal armory and arsenal at Harpers Ferry and sparked a nationwide uprising against slavery. The principal goal of the raid was to free slaves, not attack and hold a Southern state. The plan was simple: capture about 100,000 muskets and rifles, ammunition, and other supplies from the lightly guarded federal facilities at Harpers Ferry, retire to the countryside and carry out nighttime raids to free Southern slaves. The raider’s believed the southern harvest fields would be filled with disgruntled and overworked slaves bringing in the crops, a perfect opportunity to turn them to revolt. The raid might have succeeded, had Brown not made a serious error in allowing an eastbound Baltimore & Ohio train the raiders had captured to proceed. The conductor alerted the main B & O office that abolitionists were attempting to free the area’s slaves. The word was immediately taken to B & O president John W. Garrett, who notified US President James Buchanan, Virginia Governor Henry A. Wise, and Major General George H. Stewart of the Maryland Volunteers that a slave insurrection was underway in Harpers Ferry. The worst fear of the southern slaveholders seemed to be at hand.
By about noon Brown’s last chance to escape into the countryside came and went – he was in command of the bridges, and held about 35 prisoners. Armed locals arrived and organized a makeshift attack with their own hunting guns. Then two militia companies arrived from nearby Charles Town – together they stormed the bridges and drove the half dozen or so of Brown’s men guarding them back.
Five raiders were captured alive. Seven initially escaped and five of them made it to ultimate freedom in the north; four later served in the Civil War. Ten men were killed. All but two were buried in a common grave on the Shenandoah River, across from Harpers Ferry. The lest resting place of Jeremiah Anderson remains unknown. Watson Brown’s body was given to Winchester Medical College where it remained until Union troops recovered it during the Civil War and burned the school in reprisal.
Brown was charged with murder, conspiring with slaves to rebel, and treason against Virginia (West Virginia was not yet a state) and after a week-long trial was sentenced to death in early November. He was hanged on December 2nd (John Wilkes Booth sneaked in to watch) and his body was afterward carried to North Elba in Essex County to “moulder in his grave.”
Horwitz is a Pulitzer Prize–winning journalist who has worked for The Wall Street Journal and The New Yorker. He also wrote Confederates in the Attic, the outstanding look at the Civil War’s continued legacy in the South. Midnight Rising follows John Brown’s plot from its very inception to the savage battle, and then to its aftermath as it galvanizes the North and pushes the South closer to secession.
In the 1830s, hundreds of inventors around the world focused on attempts at automating farm equipment. Reducing the drudgery, difficulty, and danger of farm jobs were the primary goals, accompanied by the potential of providing great wealth for the successful inventor. Among the North Country men tinkering with technology was Eliakim Briggs of Fort Covington in northern Franklin County.
Functional, power-driven machinery was the desired result of his work, and while some tried to harness steam, Briggs turned right to the source for providing horsepower: horses.
This particular branch of the Briggs family had many members across New England, descended from Irish ancestors who fought in America’s Revolutionary War. A number of them later moved to New York in southern Washington County, which is where Eliakim was born in 1795.
Dozens of Vermonters and eastern New York State residents were among the first to move farther north and settle along the border with Canada from Clinton County to western Franklin County. Several members of the Briggs clan, including Eliakim, made the journey around 1820.
With a background in foundry work, young Eli began experimenting with building a “traveling threshing machine.” Around this time, he married Chateaugay’s Russina Allen (a descendant of Vermont’s Ethan Allen), who had moved there from Ticonderoga. They settled in Fort Covington, and by 1827, Russina had given birth to five children. Only the fifth, Janette, survived infancy.
Eli’s inventive efforts proved successful, and he began patenting his creations. Unfortunately, a fire in December 1836 destroyed 80 percent of the Patent Office’s 10,000 records. Among the documents to survive were those covering Eliakim’s “Horse Power Machine” (patented July 12, 1834), and his machine for “mowing, thrashing, and cleaning grain,” patented February 5, 1836.
The 1834 machine was an improvement in design and function of the existing horse treadmill, which was subsequently used to power his threshing machine. Looking to the future, Briggs perceived all sorts of possibilities from harnessing the power of horse-driven treadmills.
In the following year, on the Saratoga and Schenectady Railroad (one of New York’s very first rail lines) was a most unusual sight. Instead of the customary single rail car being towed along by a horse, the car was moving silently forward with no visible means of propulsion.
Gawkers could hardly believe their eyes, but the secret lay within, where a horse on a treadmill propelled the car forward at the then blazing speed of 15 miles per hour, prompting one reporter to observe, “This is indeed an age of wonders.” He was witnessing the handiwork of Eliakim Briggs of Fort Covington, whose remarkable invention was being manufactured and sold in Ogdensburg at the time.
Briggs felt that the greatest potential for financial success was in agriculture, and after a trip to the West (which was Indiana, since there were only 26 states at that time), he was convinced. The family pulled up stakes and relocated to Dayton, Ohio.
In 1839, Thomas Clegg, one of Dayton’s pioneer industrialists, operated the Washington Cotton Factory, which had an extensive machine shop. Clegg partnered with Briggs in producing his automatic threshing machine, to the great financial benefit of both men.
Eliakim became one of the leading entrepreneurs of Dayton, but after three years he moved on to Richmond, Indiana for a year. In 1841, the family settled in South Bend, and it was there where Eliakim really made his mark. The fledgling settlement of perhaps 700 citizens soon experienced rapid growth, driven in part by Briggs’ threshing manufactory (powered by windmills), one of the first industries in the town’s history.
After three years of success, the company outgrew its quarters. Briggs built a large new factory, providing employment for many residents, some of whom later became leading businessmen themselves (the famed Studebakers are one example).
Briggs’ traveling threshing machine was a big success, and not only because of the inventor’s great abilities. Eliakim’s charisma was evident in his open, friendly treatment of customers who came from Indianapolis, Lafayette, Richmond, and other western locations. He opened his expansive home to visitors and customers alike, earning a reputation far and wide as the most hospitable and generous of businessmen.
He also remained a family man to a brood that had grown to nine by 1844, including sons John, George, and Charles, who eventually followed business pursuits as aggressively as their father had. John caught gold fever and ventured to California in 1849. As his brothers became old enough, they joined him in several business exploits, including mining. One part of their legacy, still producing gold today, is the Briggs Mine, about 20 miles north of Denver.
Successful in business, Eliakim combined his personal beliefs with financial profits in pursuit of a personal passion: the anti-slavery movement. He was a fervent abolitionist who sought freedom for all. Briggs abhorred slavery and was a longtime, ardent supporter of the Underground Railroad, despite the inherent dangers.
In early 1861, at the age of 66, Eli was still securing patents on new devices, while his horse-driven machines remained very popular. That same year, previous failures in the effort to process sugar cane in the West finally met with success when new equipment was introduced: “…a horizontal, three-roller, horse-power press for expressing the juice, manufactured by E. Briggs of South Bend, capable of pressing out sixty gallons per hour …”
Eventually, the development of steam and other power sources would replace Eliakim’s creation, but during his lifetime, it remained an important component of industry.
Briggs died in September 1861, still successful in industry, and still battling for the abolition of slavery. A year later, in September 1862, his wife, Russina, passed away as well. Much of the family fortune was placed in the hands of daughter Janette, a widow whose husband had also done quite well for himself.
Janette became very well known for philanthropy in South Bend. When she died in 1916, several bequests were included in her will, including $15,000 to an orphanage and $12,000 to the YWCA. Those two bequests alone were equal to approximately $500,000 in 2011, reminiscent of the generosity her father exhibited throughout his life.
Photo: Patent drawing of Eliakim Briggs’ horse treadmill (1834).
Lawrence Gooley has authored ten books and dozens of articles on the North Country’s past. He and his partner, Jill McKee, founded Bloated Toe Enterprises in 2004. Expanding their services in 2008, they have produced 19 titles to date, and are now offering web design. For information on book publishing, visit Bloated Toe Publishing.
The Adirondack Mountain Club (ADK) has released the third edition of The Adirondack Reader in paperback. The collection of writings about the Adirondacks, which is also available in hardcover, spans more than 400 years of the region’s history and literature and reflects our nation’s changing attitudes toward wilderness. Edited by the late Paul Jamieson with Neal Burdick, this edition includes the work of some 30 new writers as well as the classic entries of Adirondack explorers and philosophers for which the book is known. A glossy, 32-page, color insert features classic and contemporary Adirondack paintings, illustrations, etchings and photographs. The paperback edition retails for $24.95 and the hardcover lists for $39.95. “Adirondack literature is an unparalleled mirror of the relations of Americans to the woods,” Jamieson writes. “This is a book about what Americans have sensed, felt, and thought about our unique heritage of wilderness.”
The release of the third edition in 2009 coincided with 400th anniversary of the voyages of Samuel de Champlain and Henry Hudson and the European discovery of the waterways that bear their names. The Adirondack Reader opens with Francis Parkman’s account of Champlain’s voyage. But much of the historical material is contemporary: Isaac Jogues on his capture by the Mohawks, Ethan Allen on the taking of Fort Ticonderoga, William James Stillman on the 1858 “Philosopher’s Camp” at Follensby Pond, and Bob Marshall on scaling 14 Adirondack peaks in a single day. The Adirondack Reader also features writings by James Fenimore Cooper, Robert Louis Stevenson, Theodore Dreiser, Joyce Carol Oates, Henry David Thoreau, Theodore Roosevelt, Richard Henry Dana Jr. and Ralph Waldo Emerson.
Newcomers to the third edition include Bill McKibben, Russell Banks, Chris Jerome, Barbara McMartin, Elizabeth Folwell and Philip Terrie. Visual artists represented in its pages include Winslow Homer, Rockwell Kent, Seneca Ray Stoddard and Harold Weston, as well as more contemporary artists such as Anne Diggory, Lynn Benevento, John Gallucci, Laura von Rosk and Don Wynn.
First published in 1964, The Adirondack Reader was lauded for its scope and its success in capturing and conveying the region’s spirit. Jamieson organized the collection into 10 sections and wrote an introduction for each that also imparts a great deal about the Adirondacks’ culture and character. His preface describes a place he knew well and gives readers a context for understanding the Adirondack Park’s unique role in the nation’s development and literature.
In the years that followed, Jamieson and editor Neal Burdick watched with interest the emergence of new voices in Adirondack writing. It is these authors, many of whom live in the region they write about (a marked change from earlier Reader contributors), who Jamieson and Burdick took particular care to include in the current edition. “There has been a remarkable flowering of writing about the Adirondacks in the last two and a half decades,” notes Burdick in his preface to the third edition. “A regional literature of the Adirondacks has come into its own.”
Neal Burdick is associate director of university communications for St. Lawrence University and editor-in-chief of Adirondac magazine. An essayist, reviewer, poet and fiction writer, his writing has appeared in numerous publications. Burdick is also past editor of ADK’s eight-volume Forest Preserve Series trail guides. A native of Plattsburgh, he holds a B.A. in English from St. Lawrence University and a Ph.D. in American studies with a concentration in environmental history from Case Western Reserve University.
Born and raised in Des Moines, Iowa, Paul Jamieson was inspired by the discovery of “uneven ground” in the nearby Adirondacks when he joined the faculty of St. Lawrence University in 1929. It was there, in Canton, that he became a hiker, paddler, author and prominent figure in regional and national preservation efforts. He is widely credited with the opening of many tracts of land and paddling routes to the public. Jamieson lived in Canton until his death in 2006 at the age of 103.
The Adirondack Reader is 544 pages and is available at book and outdoor supply stores, at ADK stores in Lake George and Lake Placid and through mail order by calling (800) 395-8080.
The Adirondack Mountain Club, founded in 1922, is a nonprofit organization dedicated to protecting the New York Forest Preserve and other parks, wild lands and waters through conservation and advocacy, environmental education and responsible recreation. ADK publishes more than 30 titles, including outdoor recreation guidebooks and maps and armchair traveler books, and conducts extensive trails, education, conservation and natural history programs. Profits from the sale of ADK publications help underwrite the cost of these programs. For more information, visit www.adk.org.
Note: Books noticed on this site have been provided by the publishers.
What follows is a guest essay by Sandra Hildreth, a member of the Adirondack Artists’ Guild. The Guild is a cooperative retail gallery with 14 member artists, located at 52 Main St. in Saranac Lake. Gallery hours are 10 – 5, Tues – Sat, and 12 – 3 on Sundays. 518-891-2615.
The current featured artist exhibit at the Adirondack Artists’ Guild in Saranac Lake could easily be a lesson in art history. Nancy Brossard is a well known local artist who lives between Tupper Lake and Childwold. Brossard primarily paints Adirondack landscapes in the tradition of “en plein air” artists, that is, outdoors, on location. Her works interpret the environment in wonderful animated brushstrokes, reminiscent of some of the French Impressionists, but faithful to the Adirondack views they portray. » Continue Reading.
In an eight-month span in the 1930s, two Ticonderoga canines made headlines for something dogs are known for in general: loyalty. Few relationships are more rewarding in life than the human-canine experience, as anyone reading this who shares a dog’s life can attest. For those who have children as well … some might be loathe to admit it, but dogs provide many of the same positives without all the complicated baggage. » Continue Reading.
For the first year Fort Ticonderoga is providing a unique experience with “Hot Chocolate at a Cold Fort.” On December 3, 10:00 a.m. – 4:00 p.m., Fort Ticonderoga will have a special opening allowing guests to witness how soldiers celebrated Christmas in 1776.
One way to snap children out of their glassy-eyed “I wants” from the onslaught of daily catalog deliveries is to experience an 18th century Christmas celebration at Fort Ticonderoga.
There will be opportunities to learn of past traditions and the winter hardships of limited resources. Fort Ticonderoga is only open during the winter months on special occasions, so this will be an interesting treat. Stuart Lilie, Fort Ticonderoga Director of Interpretation says, “We hope this event will demonstrate how people were celebrating Christmas in 1776. On a basic level the goal is to show what the solders’ lives were like during the American Revolution to how we celebrate Christmas now.”
“At that time people did not have all the traditions that we have now. I think that true comfort of Christmas at that time and the other saint’s holidays was the camaraderie with the people around them,” says Lilie. “It was enjoying a simple meal that was perhaps better than they were used to. It was something as simple as a nice cut of meat. There was more focus on those around them. The simplicity.”
The event starts with a tour of the historic fort and will make use of re-enactors portraying Colonel Anthony Wayne’s Fourth Pennsylvania Battalion. The English and Dutch Christmas traditions of these Pennsylvania soldiers will be demonstrated. Colonel Wayne’s soldiers will also work around the mess hall to make hot meals for the officers, the sick and to try to find ways to feed the rest of the battalion.
Museum Curator of Collections, Christopher Fox will be on hand for the tour of “The Art of War: Ticonderoga as Experience through the Eyes of America’s Great Artists” exhibit. This exhibits brings together 50 of the museum’s most important artworks with works including Thomas Cole’s “Gelyna.”
The fort tour will attempt to tackle such issues as shortage of clothing, medicine and how the long transportation from Albany, at the time, was an overwhelming challenge. Through it all the soldiers manage to make a festive gathering with very little.
Of course there will be a musket demonstration, as those soldiers need practice in case of a winter raid. There will be an opportunity to see how muskets work and learn how they were the main weapons during Colonel Wayne’s command.
So with a bit of history and a fun day at the fort we can witness how the Fort Ticonderoga soldiers appreciated what they had in a cold winter in 1776.
Diane Chase is the author of the Adirondack Family Activities Guidebook Series including the recent released Adirondack Family Time: Tri-Lakes and High Peaks Your Guide to Over 300 Activities for Lake Placid, Saranac Lake, Tupper Lake, Keene, Jay and Wilmington areas (with GPS coordinates), the first book of a four-book series of Adirondack Family Activities. The next book Adirondack Family Time Plattsburgh to Ticonderoga will in stores summer 2012.
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