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Portrait of the Artist

Symbolized by this painting of his ex-fiancĂŠe, Vestal rising star artist Joseph Q. Daily lost his love, but found his voice

By Brendan O’Meara

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Volume 9 Issue 2

Portrait of the Artist

By Brendan O’Meara Painting through love and loss, Vestal rising star Joseph Q. Daily finds his voice.

8 They Call It Fishing, Not Catching

By Fred Metarko The Lunker reminisces on 2013.

17 The Road Best Traveled

By McKennaugh Kelley On a quest for a new life, a family finds their home.

19 Antiques & Collectibles & Vintage – Oh, My!

By Roger Neumann On Corning’s Market Street, the sale’s the thing.

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Cover by Tucker Worthington; Cover painting: The Artist’s Fiancée in her Maidenhood, by Joseph Q. Daily. Photos this page (from top): Self Portrait in Conversation, by Joseph Q. Daily; by Mary Sweely; Courtesy of McKennaugh Kelley; by Roger Neumann.

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w w w. m o u n ta i n h o m e m ag . co m Editors & Publishers Teresa Banik Capuzzo Michael Capuzzo Associate Publishers George Bochetto, Esq. Dawn Bilder D e s i g n & P h o t o g r ap h y Elizabeth Young, Editor Cover Artist Tucker Worthington Contributing Writers Angela Cannon-Crothers, Patricia Brown Davis, Jen Reed-Evans, Alison Fromme, Holly Howell, George Jansson, McKennaugh Kelley, Roger Kingsley, Adam Mahonske, Cindy Davis Meixel, Fred Metarko, Dave Milano, Gayle Morrow, Tom Murphy, Cornelius O’Donnell, Roger Neumann, Gregg Rinkus, Linda Roller, Kathleen Thompson, Joyce M. Tice, Brad Wilson

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Portrait of the Artist

Painting through love and loss, Vestal rising star artist Joseph Q. Daily finds his voice

By Brendan O’Meara

(Top) Joseph Q. Daily in his studio; (Bottom, left to right): Ben, the painting that put Daily on the portrait map; Forest Song; and LaVoyce and Sidney Porter 8

A

couple walks into an art gallery.

They are in Corning celebrating their twenty-first wedding anniversary when they notice activity in the West End Gallery. The gallery is closed, but people inside are setting up an exhibit to spotlight some new painters, one specifically, who had been tucked away in the hills of Vestal, New York, barely an hour away.

The couple lets themselves in.

The wife, highly educated and of Eastern European descent, grew up in museums. Her grandmother curated the Pushkin Museum of Fine Arts in Moscow. She speaks five languages. The husband, by his own admission, thinks his wife would call him an “ignorant bastard, having spent her entire adult life trying to civilize me.”

They are opposites in many ways, but when they walk around the gallery, climb the stairs, and sit on a bench, they are, at once, of one mind, smitten and arrested, rooted in place by an image of a woman with her long brown hair scrunched up in a bun. She, Kathryn in the Studio, peers out a window with her left hand poised on her neckline where her wedding ring reflects the light from the sun. The museum’s assistant director notices them staring at the painting.

They want to know more about it, about it’s creator.

The couple, celebrating twenty-one years, who rarely agree on much, agree at once. “We want this one,” he says.

“This,” of course, is by the artist living anonymously in a guesthouse on his friend’s property atop a hill in Vestal.

“This” is a Joseph Q. Daily.

•

Joseph Q. Daily approaches a twostory shed and opens the door. He walks by a wood furnace, up a set of industriallooking stairs, and opens the door to his studio. The door appears out of nowhere, as if revealed by a magician’s sleight of hand. His easels are at work holding linens of commissioned portraits. The studio’s modesty reflects his lack of ego.

Cups of brushes and tubes of paint

sit on his desk. A shelf of books shows his admiration for John Singer Sargent, an acclaimed 19th and 20th century portrait painter. On the same shelf is a book on how to use Dreamweaver, the Web design program, an artifact from Daily’s dalliance into a different mode of artistic expression. In stark contrast to his linens and oil paint is an equally beautiful, in its own right, iMac computer. A painting of art supplies hangs above the door, done by his late father, Don. Tacked to his wall is a dusty postcard of a woman with long brown hair, wrapped in a blanket, staring at the sky.

Daily has the rangy look of unmuscled point guard. He’s oddly professorial for someone born in 1981, with a full beard, glasses, and wavy brown hair gently painted with gray. He was born in Philadelphia and grew up in Lower Merion, Pennsylvania, the son of two illustrators. “I was surrounded by art supplies,” Daily says. “I was drawing from the youngest age.”

He was into Peanuts and comic books as he advanced through his teenage years.

By the tenth grade he took a traditional representational drawing class, taught by his high school art teacher, Mrs. Susan Jewett. “You draw a white box, then a cylinder, then an egg, increasing the complexity. It became clear I had serious talent and I take it seriously.”

From that hatched a desire to “capture what you see as a means of expressing the self and cultivate it as tools for expression,” Daily says. He rejected the “isms,” the didactic tenets of art school, and while at the School of Visual Arts in New York City, he found his way to the classroom of Marvin Mattelson, an esteemed and award-winning portrait painter, the kind Daily would soon aspire to be. For Daily, something clicked under Mattelson’s tutelage, something about portraits, about the face, about “the spiritual impression” of the subject.

During class, the students asked Mattelson to paint, to break down a painting as he built it up. He acquiesced and readied his easel as the students

peppered him with questions about his design. The model arrived and all the students scurried back to their easels to paint. All but one: Joseph Q. Daily.

“Joe was the only one who watched me paint,” Mattelson says, “even though he was one of the best in the class. He’ll have years of experience [to paint], but this was something he could benefit from.

He wrote everything down from that demonstration. Since that time, it’s part of my teaching methodology. Joe really changed the way I taught.”

Mattelson saw Daily had ability. That much was apparent, but he wasn’t singled out. Other students, early on, were just as good. “A lot of people think, ‘You’re so lucky, so talented, you have this talent and it just manifests on its own.’ There’s a quote by Michelangelo that says, ‘If people knew how hard I had to work to gain my mastery, it would not seem so wonderful at all.’ Point is, it’s like Larry Bird. It’s not because he was so gifted; it was because he was a gym rat. He outworked everyone.”

And what Mattelson finds unsettling nowadays is the lack of hunger: the one trait universal among the great. “That’s where greatness comes from, that quality.

You can teach people to be really, really good. That spark. The hunger is there, as a teacher it amazes me. I don’t see that hunger. Joe definitely had that. I consider him to be one of the top students I’ve ever had.”

Daily sat down and started painting Liz, a friend, for his senior project. Liz traveled with Daily wherever he went.

Liz sat next to him on the subway as he commuted from Brooklyn into Manhattan. Exiting the subway, Liz turned sideways and got stuck in the door, but Daily spun Liz and ushered her out the door and to class. “I had some adventures with that,” he recalled.

Mattelson coached the voice in Daily’s work. Mattelson would ask Daily why he painted a certain way for a certain class. Daily said it was because the teacher said so. Mattelson disapproved and quickly differentiated between rules See Portrait of the Artist on page 10 9

Portrait of the Artist continued from page 9

and truths. “You cross a street during a red light,” he said. “That’s a rule, but the truth is you don’t cross the street when a car is coming. The light is symbolic. You have to look at the situation at hand. If the light is red and you cross, but someone is texting and misses the light, then it didn’t matter that you obeyed a rule. The truth is you got hit by a car.”

As a senior, Daily sold Liz to Liz’s family for a few thousand dollars, a validating experience that he could support himself in portraiture. It appealed to him in that he didn’t have to create, or be imaginative, he could just distill.

Portraiture is the nonfiction of painting: the material is there to be scavenged and it’s up to the artist to distill it, refine it, broadcast it. It took the pressure off of having to go to the well for material.

Daily finds that the biggest mistake new painters make is to try and capture only what they see—adhering to rules— to not really see what they’re looking at.

“You reproduce it in your mind already, a stock image of what you know you’re painting. A fir tree, this Christmas tree silhouette. You learn sensitive observing.

You learn to see.”

And what he came to see, came to love, and, sadly, came to lose, was Kathryn, the dusty post card on the wall, maybe his best work of all.

•

Daily met Kathryn in 2004. Both were on the fringe of a shared circle of friends. They had shared interests and sensibilities for a time. Early in their relationship, Daily worked a few odd jobs: house painting, assisting a muralist, helping out in a furniture business. And he was at once struck by Kathryn’s father, Ben. Ben has a Santa Clause beard and the look of royalty, even condescension, a lord casting a glance down upon a serf.

An arresting presence.

Daily doesn’t feel compelled by many images. Clients commission him, he consults them, photographs them, poses them, paints them. Yet on this canvas, Scott Walker, 570-295-1083 10

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Portrait of the Artist continued from page 10

with Ben standing before a fireplace he built, Daily spent his own time, money, and paint to cement it. “It was something I felt compelled to do,” he says.

The result was Ben, oil on linen, and it put Daily on the map. “My mom called and said it was accepted,” as a finalist for Best of Show and The People’s Choice Award at the Portrait Society of America’s 2005 competition. It won both categories.

Minnie Churchill, keynote speaker at the awards banquet and granddaughter-in-law to Winston Churchill, was so taken by Daily’s work she called him on his cell phone two weeks later, while he was on a ladder painting a house, to commission him for portraits of her and her adult children...in England. Of course he would. “It was a wild ride,” he wrote on his Web site.

But again, as with Ben, a painting that had no financial strings attached to it struck Daily when he saw Kathryn walking in a field on her father’s property in the West Chester, Pennsylvania, area. She looked up at the sky, wrapped in a blanket, with the bamboo shoots she planted behind her. “That’s it!” Daily said.

•

It stands in the window of the West End Gallery, a dominating image you see while walking down Market Street.

Daily considers it one of his best, if not his truly best, painting.

Titled Portrait of the Artist’s Fiancée in her Maidenhood, it is an image that had one woman ask, “What do I have to sell in order to buy this painting?”

Jesse Gardner, assistant director of the West End Gallery, could hardly believe that Daily lived so near. She couldn’t believe she had never heard of him, let alone seen his work, but, “We found him when we were supposed to,” Gardner says.

She realizes that an art gallery can be intimidating to the uninitiated. “I ask people, ‘Do you like it?’ That’s all you need to know, all that matters. It could be brushstrokes, colors, or childhood memories.”

Daily’s pieces, once she saw them in person, rooted her in place, “He’s one of a kind. His talent is unbelievable. ‘I have to call this artist!’” she said. “What I love is people who wouldn’t ordinarily come in stop dead in their tracks. The work brings in visitors. People come in and see it, then they bring family and friends back.”

It could be that Daily’s work is strangely hypnotic and ethereal. Gardner stands before his Crowned with Flowers, a sepia portrait of a young woman, Kathryn. “This is so peaceful, monochromatic, simple,” Gardner says. “The feeling of the piece, I like that. The figurative pieces, they’re less formal. I have a hard time with a portrait of people I don’t know. It’s not as personal. This is more inviting.”

Kathryn and Daily married in 2005, but divorced in 2010.

“She moved on,” he wrote on his Web site.

“A lot of people I’ve met who have been married and divorced are bitter about the idea and concept of marriage itself,” Daily says. “I express to people that I’m certainly not bitter See Portrait of the Artist on page 15

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Portrait of the Artist continued from page 13

on the concept of marriage. Through painting our relationship survives as an inspiration to people.

“My paintings have a life of their own,” Daily says. He has taken the postcard down from the wall and looks at it and admires it more for what it represents. Kathryn, in Maidenhood, is a vehicle, a conduit.

“I’m grateful for all the experiences we shared together,” Daily says.

“Obviously I don’t believe the end of a marriage is divorce. It’s not difficult to look back, especially with regard to my paintings. When I see a painting, I don’t go back to that time in our life.”

Daily still lives where they lived and lives the life they lived prior to their divorce. As Daily says, she did move on, and still he endures. “I remember meeting with a lady who did our taxes and she asked, ‘You done with marriage?’

‘No, no, no! I believe in love!’”

•

Jesse Gardner stands outside her gallery and stares with reverence and awe at Maidenhood, maybe the apotheosis of Daily’s young career, no matter how long he chooses to paint. He gave up his Kathryns to West End. Gardner asked him, “Are you okay with this? Are you ready to sell these?”

“It’s time for a new chapter,” he told her. But it was even easier than that.

“It wasn’t difficult at all,” Daily says.

“If you talk to ten different artists about giving away their work, they say it’s like giving away their children. For me, I really don’t think of it as I’m painting for myself. It’s meant to be out there.

[Maidenhood] was the centerpiece of our home for years. I wasn’t planning on selling it but with our relationship ending, the painting has a new life.

“Kathryn essentially left pursuing her own path,” Daily recalls. “I hope she finds what she’s looking for. I wish her well, and I’m sure she wishes me well.”

Gardner continues to admire Maidenhood. She stands with her arms folded, completely absorbed by the piece.

She sees, illustrated in the painting, the

fundamental tenet that unites artists across all genres. “Whatever motivates and inspires an artist to create, it translates into that. It translates in the work. It can’t be explained. There is this innate need to do what inspires them. You can tell when a piece comes in inspired on a deep level.”

And, of course, Maidenhood is a deep portrait worth, in dollars, as much as a Chevy. “I love that she’s lost in her own world,” Gardner says. “I saw it online. She’s gazing. I don’t know where her thoughts are. She appears to be in a beautiful state. I love the peace with it, the grandeur, the size.”

You won’t read what Daily’s meaning of the painting is here, what he wanted it to represent because that would corrupt your meaning of it and that can’t be polluted by the artist’s vision because that is his subjectivity. Once you know the creator’s intent it trespasses on your own translation. It could mean less; it could mean more.

One person feels moved to the point of selling off other properties; another is turned off by the “Madonna-facation” of the painting. “That painting turned off my wife, this whole idea of almost putting a woman on a pedestal made her untouchable. I don’t think any woman can stand up to that pedestal.”

That was Will, a private collector, celebrating his twenty-first wedding anniversary with Natalya. They spent a lot of time staring at their first Daily.

Their second, Preparations for Spring, depicts two women, Kathryn one of them, as they tend a birdhouse with a cat, Sam, by her feet. Will felt it was, “Very romantic, it reverberates with a sense of renewal. It’s cold, it’s springtime, but not so cold it hurts.”

They hung it in their bedroom, along with the other Daily piece, and it acts as “window of the world, that the world is better.”

Mountain Home contributor Brendan O’Meara, of Saratoga, NY, is the author of Six Weeks in Saratoga: How Three-YearOld Filly Rachel Alexandra Beat the Boys and Became Horse of the Year.

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Andy Arthor

O U T D O O R S

They Call It Fishing, Not Catching The Lunker reminisces on 2013

By Fred Metarko

A

s bass tournament fishing goes, last year was not very productive for most anglers in the Tioga County Bass Angler’s Club. Cold fronts, which can affect the bass bite, were numerous. The wind and high temperatures added extra challenges. Then the rain from a hurricane closed some lakes; the high water caused dangerous boating conditions.

The club’s top finisher, John Tomb, had thirty-two bass for our

ten tournaments. I ended in second place with a total of twenty-five fish. That’s an average of 2.5 fish per tournament—not very impressive.

Dustin Wheatley was in first place for most of the year until he met his demise on Cowanesque Lake where he couldn’t find a legal bass. He ended with a zero and fell in the standings.

Only three anglers caught fish in all ten tournaments: John, myself, and (third place) Philip Bruce.

Cayuta Lake is a small 588-acre

lake located along Route 228 in Schuyler County, New York. It is referred to locally as “Little Lake” and legend has it that it’s named after a Seneca Indian princess.

We were scheduled to fish Cayuta Lake in August, but Hurricane Irene changed our plans. The lake had risen to an unsafe level, boat traffic was not allowed, and our tournament was canceled. We shuffled the tournaments around and rescheduled Cayuta.

The weather forecast for September See The Call It Fishing on page 18

17

WELLSBORO

Little by little: Skip fills out his limit.

Mary Sweely

LIFE WELCOME TO

They Call It Fishing continued from page 17

14 predicted a decent day on the water as we headed to Cayuta Lake. But we drove through a light drizzle and on arrival there was a cold wind blowing across the water.

I started on the east side targeting docks. A bass hit my crankbait on the second cast, but it was too small and had to be released. Continuing from dock to dock, there were a few nibbles but no hook-ups. The dock fishermen said that the lake was still about a foot and a half high, and the fish weren’t biting. My lure action was mostly from the wind and shivering from the cold.

I crossed to the other side, which was sheltered more and not as windy. Most of the club was in the same general area. As I fished along, the locals were busy with front-end loaders and skid-steers. In preparation for winter, they were pulling out the docks ahead of me. That didn’t help the fish situation. Curt and Mary Sweely caught up with me and fished alongside as we talked. Time was winding down and we were headed toward the launch for the weigh-in.

At the weigh-in Skip Bastian was lamenting the fact that he couldn’t catch the fifth bass to fill out his limit.

Philip Bruce, his back boater, said, “You did get your limit. What about the fish on the front deck of your boat?”

“Oh, yeah. I forgot about that one, but it can’t count—it’s not even a bass.” Skip continued, “It felt like I was hung on some weeds. I pulled to get free and, reeling in the lure, it felt different. We were surprised to see a fish that was smaller than the four-inch lure.”

Skip laid the monster in his hand next to a dime.

And Mary took a picture—for posterity.

Fred Metarko, The Lunker, is a member of the Tioga County Bass Anglers (www. tiogacountybassanglers.com).

18

L I F E Ever seen trees this big? We hadn’t. My father, Bruce, and my brothers, Brennan and Nevin at Sequoia National Park.

The Road Best Traveled

On a quest for a new life, a family finds their home

By McKennaugh Kelley

W

e had a plan.

We were geared up to see everything America had to offer. We wanted to see deserts and mountains and plains. We wanted to see prairies and oceans. For a family who had never left the east coast, the West was an inviting adventure that stretched on into the sunset. The hope of seeing states we had never visited was like a nagging dream: always spoken of, worked toward little by little, never attained.

Until last summer. Jobs were quit, the house was placed on the market, and we piled armloads, carloads, and U-Haul loads into a towering storage shed. Our family has been talking about moving for a decade. When we piled into our Volkswagen van under the Pennsylvania stars, our feelings lodged between, “It’s

about time!” and “We sure will miss this place!”

I climbed into the driver’s seat and pulled our car slowly up the narrow dirt road. The trailer made clattering noises as it rolled clumsily over the rocks and ruts. This road was a memory in itself.

Ever since I was four years old, I had been splashing in its puddles and sifting through its dull stones to find one that was interesting or sparkling. As I got older and stopped terrorizing the mud puddles, I loved to walk along it and see the spring roses in full bloom. There were thousands of wild blossoms dangling and whispering in the wind. When I was little, the flowering of the roses was a much-awaited event. My brothers and I walked and inspected the towering, cascading bushes, each hoping that we

would be the first one to find a tiny, fresh rose. Sometimes, we knew that they had bloomed even before we found them; their magnificent smell lifted on the spring breezes and floated down to our waiting noses.

I thought about the fact that I might never see another spring here.

I’d never see our roses again. But that was okay, I supposed, for now we were going to places that were stranger and bigger and…better? Maybe. California was the road trip destination. We had classic California fever. We wanted to get away from the small towns of Troy and Mansfield where some of us had spent our entire lives. California was warm and sunny year-round, lush and prosperous, a grower’s paradise, a haven for people who had an eco-ish side. Right?

See Road Best Traveled on page 27

19

20

Roger Neumann

ARTS & TRAVEL

On Market Street: Tom Mancuso and his fellow dealers gear up for the Great Market Street Antique, Collectible & Vintage Sale.

Antiques & Collectibles & Vintage – Oh, My! On Corning’s Market Street, the sale’s the thing

By Roger Neumann

W

hat’s better than a one-day sale?

How about the same sale at ten related shops?

That was the thinking behind Corning’s annual Great Market Street Antique, Collectible & Vintage Sale.

The larger-than-ever event, scheduled this year for 10 a.m. to 6 p.m. February 22, is expected to draw hundreds of shoppers to the city’s main shopping strip. Nine businesses, operating out of ten storefronts, are participating in the sale.

“It’s pretty much everybody who deals in antiques, collectibles, and vintage on Market Street,” said dealer Tom Mancuso, who has organized the sale every year since 2007.

Mancuso said the timing of the event is just right for both sellers and shoppers, coming as it does every year on the final weekend of the last full month of winter.

“It’s a nice day on Market Street for folks. You get out of the house. You’ve been in all winter. You come down and

you take advantage of the pricing that we offer that day only,” said Mancuso.

He owns Market Street Antiques and Collectibles, which he operates out of both 94 and 98 East Market Street.

Mancuso, who celebrated twenty years in business last June, opened one of the stores in 1993 and the other, just two doors down, in 1998. A former production worker for Corning Inc. for twenty-two years, he’s now a substitute teacher’s aide in special education See Antiques & Collectibles & Vintage on page 23 21

ARTS & TRAVEL

Seriously good wine for 25 years!

Open for tasting and sales year-round.

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WELCOME TO

CORNING’S GAFFER DISTRICT

Antiques & Collectibles & Vintage continued from page 21

for the Corning-Painted Post School District and the Greater Southern Tier BOCES. Mancuso’s antiques and collectibles business features items from twenty-five to forty vendors at any given time. The street-wide sale grew out of his own two-store discount day.

“I used to conduct a sale independently,” he said. “When I opened in 1993 we were the only [similar] shop on the street at the time; there were many shops before us. As more and more shops opened, I thought it would be more powerful if we could together have a one-day sale where we mark things down to the point where we just want them to leave the shop.”

Its success ranks with the best retail events in the city, Mancuso said. “It’s probably as good as any event on the street—a Sparkle, a Black Friday. We do that well.”

Coleen Fabrizi, executive director of Corning’s Gaffer District, said the one-day sale is a “wonderful thing” for downtown.

“It happens on the last Saturday in February every year, so it’s something you can set your calendar by,” Fabrizi said. “And collectors from throughout the region and beyond do just that. It draws hundreds of people to town for shopping.”

Mancuso said of the sale’s effect on the district: “When you have ten shops, [customers] have to spend some time.

That means you’ve got to have lunch, maybe you stay overnight, you know.

The whole street benefits from the sale.”

This is a slow period in the antiques and collectibles market, but at the same time dealers are itching to turn over inventory with an eye toward a fresh look for spring. That’s a good combination for customers.

“One thing about antique dealers is that more than selling they enjoy buying, and to do that they really need the money,” Mancuso said. “About this time of year, they’re really going to be looking for some capital to go out and See Antiques & Collectibles & Vintage on page 32 23

WELCOME TO

CORNING’S GAFFER DISTRICT Culinary Workshops

at 171 Cedar Arts Center

171’s culinary series is back with amazing regional chefs, each presenting demonstration-style courses that showcase a bounty of spectacular local and global flavors. You’ll sample foods prepared during class for a memorable lunch.

Cornelius “Neal” O’Donnell, Mountain Home Magazine contributor, returns as your host!

Chefs to include Brud Holland, Blake Swihart, Michael Lanahan of The Cellar, Nithya Krishnan of Nithya’s Cucina, James Fry of The Wren’s Nest and more!

Learn more and register!

www.171CedarArts.org 171 Cedar Street, Corning 607-936-4647

24

Welcome to Corning’s Gaffer District We carry an array of products to compliment your hair care and beauty needs.

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Rockwell Museum of Western Art 111 Cedar Street, Corning, New York 14830 Tel: 607.937.5386 rockwellmuseum.org

MKTG88260_CONNOR_M.indd 1

1/7/2014 10:21:17 AM

Spring Concert Sunday, March 2, 2014 4:00 pm

The Clemens Center, Elmira Guest Artists Brenda Dowe, Soprano Ivy Walz, Mezzosoprano Micheal Burrell, Tenor Brad Hogham, Baritone

Of The Southern Finger Lakes Aaron Copeland Hoe Down from Rodeo Side-by-Side with The Youth Orchestra and Junior String Ensemble Stravinsky The Fire Bird Suite Side-by-Side with The Youth Orchestra and Junior String Ensemble Dvorak Cello Concerto, First Movement with 2013 Hertzog Competition Winner Annie Jacobs - Perkins Haydn Lord Nelson Mass with the Chorus of the Southern Finger Lakes

Toshiyuki Shimada Music Director & Conductor

Tickets: Clemens Center Box Office 607-734-8191 or OSFL.org Adults: $45, $35, $15 Students: $8 (Processing and facility maintenance fees apply)

25

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A local collaborative that works to improve quality of life in Tioga County, PA

YOU can help us! —How?

Be Your Best You!

Road Best Traveled continued from page 19

Our family, ever famous for not being on time, left in October. Everyone else had their summer trips done and gone, but ours was still ahead. Each new thing we saw brought excitement. Each state sign proclaiming, “Welcome to…” brought shouts from the car: “Hey, don’t miss it!”

“Grab the camera!”

“Can you believe this is the first time we’ve ever been to Ohio?”

Two little kids, two teens, and two parents packed into one van makes things interesting. In tight spaces we learned that humor is essential, ignoring people is useful, and shouting is sometimes necessary. At night, we popped the top of our Volkswagen, folded the seats down to make a bed, and lay like pieces in a puzzle that didn’t fit.

We checked off miles and states.

We picked up firewood in the dark in a tangle of poison ivy in Ohio, only to learn that honeysuckle bushes don’t give off enough warmth to roast a sausage anyway.

We pulled into Illinois at midnight and opened our doors to the sound of coyotes howling an eerie welcome. We’re used to coyotes, as is any backwoods Pennsylvanian, but when you’re living in a car and the outdoors is your kitchen, play space, and living room, you don’t appreciate them as much. I have run through the prairie in Kansas and found the open spaces thrilling and lonely at the same time. I learned that if you stand on top of a rolling hill there, the wind sweeps over the grasses and jumps up over the tops of the hills with enough force to almost blow a person over. Colorado is cold in October—the mountains are dusted with snow, but they are also dusted with a unique, only-there beauty that flings itself towards the sky, proudly showing off wilderness and remoteness.

Utah, which I had placed in the “things I don’t want to see” category, ended up being perhaps my favorite place. Looking for a spot to spend the night, our tired family stumbled upon Moab, Utah, and, thus, Arches National Park. As soon as we saw the towering red columns jutting into the sky, we were out of the car and

scrambling up mountains of rocks and cramming ourselves into crannies. We hiked to the famous Delicate Arch and got to see a huge full moon slinking around the red stones. We met two funky, fun people who joined our flashlight-less walk down the cliffs. We laughed and joked and told each other about where we had lived. We reached our cars without falling into any abysses, parting with smiles and more laughter, both heading on to journeys of our own.

We stood on the edge of the Grand Canyon in Arizona and looked out over the canyon that almost held mountains of its own. And we saw beauty so magnificent that the human eyes simply cannot comprehend it all.

We reached California and found that it really did have orange groves and pomegranates that hung lavishly from trees, but we also found that they were cultivated in a sort of desert of endless grass and sandy soil. Dry and twisted wild trees, unwatered and unpampered, struggled to pull moisture up through dry roots. The ocean was beautiful, but palm trees don’t spread out with endless shade like a Pennsylvania maple. Sequoia National Forest was amazing, like nothing we had ever seen.

We loved it and were stunned by it—but it wasn’t home. There are no two places that are the same. No two states, no two forests, no two mountains…no two deserts, even. As we went on our way, we met so many people who told us, “This is the town to live in!” Sometimes, the town the person was referring to was in the middle of a Kansas prairie. Other times, it was a treeless place called Midland, Texas, or a quaint, cool town called Lexington, Virginia. Some said that Carpinteria, California, was the best place on earth.

We were slowly realizing that everyone has a beloved homeland. We were also realizing that we had left ours behind.

The house hadn’t sold. Yes, it was too small for our family…but it was mansionsized compared to a Volkswagen. We pulled back into Mansfield and felt deep love for our little town. We picked

up our pace as we hurried out into the countryside. The trailer bounced and squeaked down the abundant unpaved roads. Finally we reached the road. One last tall hill to climb. We pointed out the windows and whooped, amazed that our favorite trees and dirt and stones had survived a whole six weeks without us.

We had left the mountain. We had had the time of our lives. We had come back.

And we were home.

Mountain Home contributor McKennaugh Kelley, age seventeen, is homeschooled in the backwoods of Pennsylvania.

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Stop and Visit our Showroom & Design Center.

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Home features 3 bedrooms, updated bathroom, open kitchen and living room, beautiful private patio area, and a 2 car garage. $110,000

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Wellsboro Duplex...Great investment located in the heart of Wellsboro Boro. This property includes an old barn on backside of property which would be great for storage. All utilities separated. Both units have washer/dryers, range and refrig. There are some hardwood floors and nice woodwork. Pump up your portfolio...this is a buy! $98,000 MLS# 124848

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ARTS & TRAVEL Antiques & Collectibles & Vintage continued from page 23

Morris Chair Shop Chairs Tables Chinas Rockers Bedroom furniture Home Office furniture

 54 Windsor Lane, Morris, PA 16938 morrischairshop.com 32

570-353-2735

spend at auctions, estate sales, and rummage sales. So for the consumer, the buying public, it’s an opportunity for them to get some great deals.”

He said dealers will mark down prices on many items, some of them significantly.

“I practically give a few items away,” he said. “I’ll mark down a fifty dollar item to ten bucks just so people can go home and say, ‘Look what I got at that sale.’ I’ve just got so much inventory right now I really want to clean things out of here.”

Shoppers who buy at least one item from any of the nine dealers will receive a coupon good for 10 percent off the price of any item at any other participating store.

“People have fun with that,” said Mancuso. “They come up here and they look at things, they go to another shop, they buy, they get their coupon and they come back. People are running up and down the street. So it’s a lot of fun.”

There’s already excitement up and down the street at businesses that sell antiques, collectibles, and vintage items, Mancuso said. He said the market endured some down years, when it was hurt by the poor economy and other factors, but it’s now enjoying a nice rebound.

“There was a little bit of a lull there because of the older generation not buying any more, not collecting, and younger people not really catching on to it,” he said.

But now, helped in part by reality TV shows like Pawn Stars, plus the fact that many young people are going green and retro, things are looking up.

“We’re seeing a lot of young people coming through the door now,” Mancuso said, “and business is good again.”

Mountain Home contributing writer Roger Neumann is a retired Elmira Star-Gazette editor and reporter.

The Dealers (from East to West):

Market Street Antiques & Collectibles 94 and 98 E. Market St. Mecca Books 65 E. Market St. Stained Glass Works & Antiques 63 E. Market St. Mint Velvet Vintage Interiors and Antiques 24 E. Market St. The Erlacher Collection 5 W. Market St. The Willows Way 14 W. Market St. Carder Steuben Glass Shop 42 W. Market St. Twin Tiers Antiques Plaza 67 W. Market St. 94 West Antiques 94 W. Market St.

Mountain Home

Beneath The Veil, The Realm of Faery Awaits

SPORTING GOODS

Mind…Body…Spirit An Enchanting Gift Shoppe Est. 2000 6 East Avenue Wellsboro, PA (570) 724-1155 www.enchanted-hollow.com

LODGING

SHOPPING

PROFESSIONAL SERVICES

SERVICE DIRECTORY

Games Imagination Fun

Fun and GAmes for kids of all ages! www.popscultureshoppe.com 2 East Avenue Wellsboro, PA 16901

570-723-4263

33

B A C K O F T H E M O U N TA I N

Say It With Light Story & Photo by Tom Dorsey It seems that I have a bad habit of crawling out of bed long before daylight lately. Yesterday as my wife and I drove to the river the moon was amazing and the fresh fallen snow draped the evergreen trees beautifully. I was in too much of a hurry to get to the river, so I didn’t stop to take pictures. My intention this morning was to photograph before daylight, but the moon was hidden behind heavy cloud cover. All was not lost, though. I decided to take some time exposures of the front of the house. For non-photographer nuts, this picture was taken way before daylight and required a thirty-second time exposure. After clicking the shutter, I ran into the frame and drew hearts as I pointed my little flashlight toward the camera. Because of the time exposure and low light you really can’t see me. I drew one heart then stepped to the side and drew the second one, then ran out of the frame. So you may be asking why I took this shot. My wife and I say, “I love you” each morning as I’m leaving for work, and we end a phone call with, “I love you.” But sometimes I like to do the unusual to tell her that.

34

DR. DARIUS ABADI

DR. DEBRA SILKES

DR. WALTER LAIBINIS

DR. ANTHONY NESPOLA

History of colorectal cancer or over the age of 50? Heartburn or indigestion pain on a daily basis?

Routine colonoscopy and gastroscopy are available close to your home.

Drs. Darius Abadi and Debra Silkes of Canyon Surgical Associates and Drs. Walter Laibinis and Anthony Nespola of Pine Creek Internal Medicine all perform routine colonoscopy screening and gastroscopy procedures at Susquehanna Health’s Soldiers + Sailors Memorial Hospital. Take charge of your health. Talk with your doctor about your risk of colon cancer and what causes pain in the upper gastrointestinal tract.

Canyon Surgical Associates 1 Main Street, Wellsboro *A consultation is required prior to procedure.

Pine Creek Internal Medicine 103 West Avenue, Wellsboro *Consultation and procedure done on the same day.

Canyon Surgical Associates and Pine Creek Internal Medicine accept both referred and nonreferred patients. Both have little wait time and are scheduling appointments for new patients.

To schedule an appointment, please call Canyon Surgical Associates at (570) 723-0716 or Pine Creek Internal Medicine at (570) 724-3744.

SusquehannaHealth.org