image culture • community • lifestyle
Winter 2017/2018 vol. 12 no. 4 $4.95
W I N T E R
BRING ON THE
2 0 1 7 / 2 0 1 8
MAGICAL FLUTES GREEN MOUNTAIN GLOVES
32 | An Artist’s Journey
Art and its practice help us find our path. by Sara Tucker
52 | Going for a Globe
How a local 55-year-old ski racer won a world title. by Lisa Ballard
62 | Time-Tested Green Mountain Gloves Quality craftsmanship for nearly a century. by Mary Gow
Cover photo: Amy Allen Berkey and son Alden slide down Braintree Hill in Vermont on a toboggan made by Glen Norton. Photo by Jack Rowell. This page: The first sun strikes the summits of Cortina d’Ampezzo in Italy. Photo by Lisa Ballard.
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82 DEPARTMENTS 15 Editor’s Note
76 On the Town
By Dana Adams
18 Online Exclusives 20 Monthly Tidbits
Facts, fun & adventure for winter.
28 Toast the Season Warm the winter.
30 First Glance Socks for good. By Lisa Ballard
42 Local Flavors
Blake Hill Preserves. By Meg Brazill
82 Real People
John Lunn flutes. By Susan Nye
A world-class institution aims to heal trauma. By Elizabeth Kelsey
93 The Pick
Calendar of local events.
103 Advertisers Index 104 Celebrate the Moment Readers share their photos.
70 Active Life
Upper Valley floor hockey. By Justine M. Kohr
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The Farmer’s Table Cafe.
Destination New London Shop, Dine & Be Pampered!
winter • 2017/2018
Mountain View Publishing, LLC 135 Lyme Road Hanover, NH 03755 (603) 643-1830
Bob Frisch Cheryl Frisch Executive Editor
Deborah Thompson Associate Editor
Kristy Erickson Copy Editor
Elaine Ambrose Creative Director/Design
Ellen Klempner-Béguin Advertising Design
Hutchens Media, LLC Web Design
Inbound Marketing Manager
KEEP US POSTED: image magazine wants to hear from readers. Correspondence may be addressed to: Letters to the Editor, image 135 Lyme Road, Hanover, NH 03755. Or email us at: firstname.lastname@example.org. Advertising inquiries may be made by email to email@example.com. image is published quarterly by Mountain View Publishing, LLC © 2017/2018. All rights reserved. Reproduction in whole or part is strictly prohibited. image magazine accepts no responsibility for unsolicited manuscripts, artwork, or photographs.
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P HOTO BY I A N R AYM O N D
Blessings of the Season After you neatly stack the wood, light the logs in the fireplace, and snuggle down in front of it with a mug of our mulled wine (recipe on page 28), take a break from the holiday rush by relaxing with the interesting articles in this issue. We’re taking you to Blake Hill in Windsor, Vermont, where you’ll find delicious varieties of preserves, jams, and marmalades made by the husband and wife team of Joe Hanglin and Vicky Allard (page 42). If you’re fortunate enough to meet Vicky when you visit, you’ll immediately be charmed by her British accent, and don’t be surprised if your first thought is, “Oh, how perfect! Let’s have tea and crumpets.” The Specialty Preserves Shop at Blake Hill is brimming with all sorts of jars filled with 30 varieties of deliciousness. Treat those on your holiday gift list to an eight-pack of Blake Hill’s yummy creations. We love the many unique small businesses in our area—perhaps none more than Green Mountain Glove Company (page 62). Kurt Haupt and his daughter Heidi are continuing a family tradition that began in 1920 in Randolph by making their worldfamous work gloves. Electrical workers and linemen everywhere rely on the Haupts’ beautiful, durable gloves, which are handmade with loving care using the finest materials. Another amazing craftsman in our midst is John Lunn of Newport, New Hampshire (page 82). He makes finely detailed flutes from sterling silver and gold, and they are exquisite. Come along as we visit John in his workshop. (We’re so excited that he invited us in!) We’re also highlighting renowned artist Joan Feierabend (page 32), who shares her fascinating creative process with us as it has unfolded throughout her life. I am particularly attracted to her portraits. If you want to be where the action is this winter, sign up for the Upper Valley Floor Hockey league (page 70), or hit the slopes with Lisa Ballard as she takes us on her journey to winning a world skiing championship (page 52). No matter how you choose to spend your time this winter, the staff and I wish you a wonderful holiday season filled with family, friends, and all your favorite things. Remember our less fortunate neighbors with a donation to a local charity or food bank, and keep in touch with news, events, and extra articles online at www.uppervalleyimage.com. Enjoy!
Deborah Thompson Executive Editor firstname.lastname@example.org
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ABOUT OUR CONTRIBUTORS
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Justine M. Kohr
Meg is a regular contributor to regional New England magazines and teaches at the Writer’s Center in White River Junction, Vermont. A recovering punk rocker and performance artist, she lives with her daughter in South Woodstock. She is currently working on a book of short fiction when she’s not too busy living it.
Mary holds the middle place in a family with three generations of women writers. An arts correspondent for the Times Argus, she also writes regularly for regional magazines and is the author of history of science books for middle school students. She lives in Warren, Vermont.
Justine is editor of Tuck Today, the official magazine of the Tuck School of Business, and a freelance writer. A vegan with a strong passion for animal rights, she is particularly interested in personal histories. She lives in West Lebanon with her husband and six animals.
Ian has been photographing people and places in New Hampshire for over 30 years, and his studio, Raymond Photographic Imaging, is located in Laconia. In addition to photography for magazines, catalogs, and brochures, he specializes in architectural photography and fine art portraiture.
A fifth-generation Vermonter, Jack has been a professional photographer for over 35 years, shooting documentary, commercial, and advertising photographs. He has had successful one-man exhibitions at the Hopkins Center at Dartmouth College, Chandler Gallery in Randolph, Governor’s Reception Area in Montpelier, and the Main Street Museum of Art in White River Junction.
Sara is an independent journalist who comes from a long line of Vermont farmers. She is the author of Our House in Arusha and An Irruption of Owls, a memoir set in Vermont. You can follow her on Facebook, Goodreads, or her blog, Sadie and Company, or email her at email@example.com.
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F A C T S ,
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CURL UP & WATCH In mid December, take a breather. Celebrate the world premiere on the 15th of this month of Gone with the Wind in Atlanta in 1939.
Good News Whether you love the month and all its busyness or would prefer to hibernate, December is statistically brighter than November in New England. At least that’s what meteorologists claim. Maybe it’s all those twinkling lights and candlelit windows that makes it seem so. Whatever the reason, get out and enjoy the area’s beautiful lighting displays and decorations this month.
December Reads Expand your literary reach this month. You’ll still need to read The Night Before Christmas to the kids, but add at least some of Kenneth Grahame’s classic tale, The Wind in the Willows.
Hot Buttered Rum 20 i m a g e •
Something to Celebrate!
Here’s a sample to whet your appetite:
On December 5, 1933, Prohibition ended with the 18th amendment to the Constitution. Can you imagine getting through all the parties and family get-togethers without a relaxing glass of wine or a hot toddy to warm the bones? Try one of the seasonal specialties that barkeeps in our neck of the North whip up for a real treat—and inspiration for your own holiday libations.
“It was a pretty sight, and a seasonable one, that met their eyes when they flung the door open. . . . some eight or ten little field mice stood in a semicircle, red worsted comforters round their throats, their forepaws thrust deep into their pockets, their feet jigging for warmth. . . . As the door opened, one of the elder ones that carried the lantern was just saying, “Now then, one, two, three!” and forthwith their shrill little voices uprose on the air, singing one of the old-time carols that their forefathers composed in fields that were fallow and held by frost, or when snowbound in chimney corners, and handed down to be sung in the miry street to lamp-lit windows at Yule time.”
Go Ahead and Let It Out Didn’t get what you wanted in your stocking this year? Overtired, overstuffed, and overspent? On December 26— and only on that day—you are allowed to whine about all those and more! Don’t suffer in silence about long return lines and having to clean up after the company has left. This is your day to vent. You’ll feel better before you have to start preparing for New Year’s celebrations.
National Roof Over Your Head Day December 3 marks National Roof Over Your Head Day across the United States. It’s a day to be thankful for what we have, starting with a home to shelter us from the elements. We take so much for granted and often fail to recognize how fortunate we are. To celebrate National Roof Over Your Head Day, select a name or two from a Christmas Giving Tree, donate your time to serve others in need, or make a contribution to a food bank or homeless shelter.
How did it get so late so soon? It’s night before it’s afternoon. December is here before it’s June. My goodness how the time has flewn. How did it get so late so soon? — Dr. Seuss HANDS & TOES For the gift recipient who already has everything, consider more! Mittens, gloves, warm socks and hats and scarves, plus hand and toe warmers, that is. Can you have too many when winter strikes Northern New England with
all its fury? The Upper Valley is home to several sock makers, in addition to other warm and toasty apparel, so no matter how many your loved ones have, you’ll find super-warm, well-made, and fashion-forward foot, hand, and head coverings they will appreciate.
Find image at www.uppervalleyimage.com •
MONTHLY TIDBITS F A C T S ,
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JANUARY ON THE COVER
Discover Norton Toboggans It’s hard to believe that five years have passed since we last featured one of Glen Norton’s hand-crafted toboggans on our cover. Luckily for us, Glen continues to create his beautiful toboggans, sleds, wagons, and other pieces at his workshop in Randolph, Vermont. In addition to adult-sized conveyances, Glen specializes in smaller 35-inch pull sleds for babies, and his newest venture is creating miniature sleds, about 20 inches long, which are creating a lot of buzz—people love them as decorations. The feature we published on Glen in our Winter 2012/2013 issue brought him attention from near and far, most remarkably from Japan. “The most surprising order came from Dutchwest Japan Company, which ordered 30 sleds and 5 wagons,” Glen reports. Packing and shipping those pieces—his first overseas order—was a real challenge, he says, but everything arrived safely. Glen is well-known for being an active member of his community. He often supports local nonprofit organizations’ fundraising events by donating items, and he has supported the AVA Gallery auction for several years. He’s also a familiar face to artists and other craftsmen in the area and has won first place at the Vermont Woodworking Festival. Besides contacting Glen directly to place your order, you can find at least one of his pieces for sale at Dan & Whit’s in Norwich, Vermont. This year, Wood’s Vermont Syrup Company in Randolph is featuring Glen’s miniatures as their gift baskets, which can be ordered online at www.woodssyrup.com. For more information, call Glen at (802) 477-2273, email him at email@example.com, or visit his website at www.vttoboggans.com.
Glen Norton enjoys one of his toboggans with wife Shawn and son Isaiah.
People are using Glen’s miniature sleds in gift baskets and as home décor. Photos by Jack Rowell.
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A Solitary Tale In January 24, 1972, Japanese soldier Shoichi Yokoi was discovered living on the island of Guam. Unaware that World War II had long since ended, Shoichi had been hiding in the jungle for 28 years. When he finally saw other humans after nearly three decades on his own, he attempted to wrest a rifle away from one of the hunters, but weakened by years of poor diet, he was no match for them. Omi Hatashin, Yokoi’s nephew, said that his uncle panicked, fearing he would be taken as a prisoner of war—the greatest shame for a Japanese soldier and for his family back home. As he was led away, Yokoi begged his captors kill him, and on his return to Japan, he expressed his chagrin at being returned alive instead of dying in the emperor’s service. Shoichi Yokoi’s nephew spent years piecing his uncle’s amazing and heartbreaking story together, and his book, Private Yokoi’s War and Life on Guam, 1944–1972, was published in English in 2009.
Find image at www.uppervalleyimage.com •
MONTHLY TIDBITS F A C T S ,
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FEBRUARY AMERICAN HEART MONTH
Find a list of 10 HeartHealthy Foods online at www.uppervalleyimage.com.
If you’re concerned about heart health, you probably keep an eye on your cholesterol levels. But do you know if your triglycerides are high? Triglycerides are a type of fat that travels through the bloodstream. The body gets triglycerides from the foods we eat and makes them from other foods, like carbohydrates—so diet plays a critical role in managing triglyceride levels. High triglycerides are an indicator of metabolic syndrome, which raises the risk of heart disease and stroke. It’s important to know your triglyceride level, and it’s typically done as part of the same blood test that measures cholesterol. A reading below 150 is considered normal. Above 200 is considered high, and above 500 is very high.
A Day for the Birds Be sure to refill your
February Is Canned Food Month Did you know that canned fruits and veggies are nutritionally on par with fresh and frozen ones? And research finds that in some cases, canned fruits and vegetables have more nutrients than fresh and frozen. For example, canned tomatoes contain more cancer-fighting lycopene than fresh tomatoes. Canning also makes the fiber in some foods—like beans—more soluble and therefore more useful to the body.
feeders on February 3, Feed the Birds Day. Mid and late winter are especially hard on outdoor animals since food becomes scarce for wild birds that overwinter in your backyard. Help them survive our long, cold winter by feeding them. Just be sure to keep your feeders full—once birds are attracted to them, they remember the food source and become dependent upon it. Seeds are the best source of high-energy food for wild birds.
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February 14: Valentine’s Day
All you need is love. But a little chocolate now and then doesn’t hurt. — Charles M. Schulz Get Nutty on February 26 It’s National Pistachio Day! Pistachios contain fewer calories and more potassium and vitamin K per serving than other nuts. A one-ounce serving provides 25 percent of the daily value for vitamin B6 and 10 percent of the daily value for magnesium. Research finds that snacking on pistachios may help support heart health by lowering cholesterol, and the Mayo Clinic notes that pistachios contain l-arginine, which helps keep the linings of your arteries flexible, and vitamin E, which reduces the risk of clogged arteries. Pistachios are also a great snack if you’re trying to maintain a healthy weight—they’re packed with fiber, which makes them filling.
Find image at www.uppervalleyimage.com •
Woodstock this Winter
TOAST THE SEASON
Mulled red wine with orange, apple, spices, honey, and a splash of brandy.
Warm up Winter
Raise a glass
Treat your guests to mugs of mulled wine this year. It’s easy to make, and its cinnamon, cloves, and ginger will add some spice to your sipping while ﬁlling your home with the delicious scents of the holidays. As your company arrives from the winter weather outside, welcome them in with a mug of mulled wine to warm their bones on a cold, snowy night. Enjoy!
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MULLED WINE Makes 6 servings 1 (750 milliliter) bottle red wine (such as cabernet sauvignon, zinfandel, or merlot) 1 orange, peeled and sliced 1 Gala apple, sliced M cup honey N cup brandy 4 cinnamon sticks 10 whole cloves 3 star anise 1 tsp grated fresh ginger
1. Combine red wine, orange slices, apple slices, honey, brandy, cinnamon sticks, cloves, star anise, and ginger in a slow cooker. 2. Cook on low until wine is steaming, 20 to 25 minutes. 3. Serve by ladling into glass mugs. Garnish with orange and apple slices and cinnamon sticks.
FIRST GLANCE By Lisa Ballard
SOCKS FOR GOOD SKI SOCKS BENEFIT NEW HAMPSHIRE OLYMPIAN’S CHARITY While no one knows whether five-time Olympian Bode Miller will go for another gold during the 2018 Winter Olympics, Turtle Ridge Foundation (TRF), which he started with his family in 2005 and is named after his childhood home near Cannon Mountain, is hoping for a winning connection to everyone who skis, or more precisely, who wears ski socks. Through a partnership with the brand Farm to Feet, TRF, which supports a variety of adaptive and youth sports programs, receives a portion of the sales of Farm to Feet’s “Franconia” socks. In addition, the company promotes TRF on its website and through its social channels, and it provides socks for various TRF events including the annual BodeFest ski event and BodeBash golf and tennis tournament. Cameron Shaw-Doran, TRF’s director of development and Bode’s friend, is pictured on the socks’ packaging. An aspiring ski racer, Cameron was paralyzed in a car accident in 1997. Undeterred, he continues to compete in adaptive skiing events using a state-of-theart monoski that he created
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in conjunction with the TRF and engineers at MIT to give those with disabilities greater access to the slopes. The socks in the package that bears his face are also technically advanced. A silky Merino-Lycra blend, they manage moisture without itching. A seamless closure allows the toe area to lie flat in the snug toe box of a ski boot. Comfortable compression supports the foot and lower leg, fending off fatigue. A mesh-like weave below the cushioned shin area reduces bulk when the ankle flexes forward. And they come with a lifetime guarantee. What’s more, Farm to Feet socks are 100 percent Americansourced and manufactured. “Farm to Feet is a great partner for us,” says Kyla Miller, Bode’s sister and TRF’s executive director. “They understand that, for partnerships to be successful, there needs to be more than just financial support, and we are super excited to be featured on their packaging.” I
FOR MORE INFORMATION, go to www.farmtofeet.com and www.turtleridgefoundation.org.
Shop these ďŹ ne stores at
Rte 12A, West Lebanon (Just off I-89 - Exit 20)
The PowerHouse Mall
- Enjoy the Journey! -
ARTIST’S JOURNEY AN
A R T A N D I T S P R A C T I C E H E L P U S F I N D O U R PAT H
Though widely known as a portrait painter, Joan Feierabend refuses to be pigeonholed. Comparing her work to an archaeological dig, she uses every means available to connect with “some greater energy from which we are only a tiny spark.”
BY SARA TUCKER ð PHOTOS BY JACK ROWELL
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Joan adds finishing touches to transition painting #4, Shall Perception Emerge into an Opening Mist?
Find image at www.uppervalleyimage.com â€˘
How would you justify spending taxpayers’ money on teaching art in a cash-strapped rural school district? That was one of the interview questions when Joan Feierabend, a 1969 graduate of Pratt Institute, applied to be a publicschool art teacher in 1981. “I wouldn’t talk about art appreciation,” she told school administrators. “I’d talk about jobs. Look around you. Everything you see—this pen, the clothes you are wearing, the desk, the chairs, this building—all of it was designed by somebody. That’s art.” Joan got the job, and for the next 24 years, she taught art to grades K through 12 in Chelsea, Vermont. At the same time, she made art, painting at night in her studio and rising before dawn to begin a working mom’s typical day. Her artwork began with an intense focus on the human figure and in 1986 took an unexpected turn following a week at the Vermont Studio Center. In 2012, the Duckworth Museum paired her radiant portraits and pendulum-guided “dowsed” paintings in a solo show that elegantly summarized her evolution as an artist up to that point. Recently, at her modest home and studio on the Second Branch of the White River, she talked with me about the power of art to inform, and transform, human beings. —Sara Tucker
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You’ve said that your art has been influenced by your teaching and vice versa. Tell me about that. Somebody—I wish I could remember who—said that, in order to paint, you have to get everyone out of the studio. You have to get your teachers out. You have to get the buying public out. You have to get your family out. And once they’re all gone, then you have to leave. Your own voice in your head is the worst one because it listens to all the others, and it is the most damning. Working with students confirmed this. Kids are so awful to themselves about their own artwork. I’m no good at this. Kids will say that to themselves because they don’t have the skills, but how can you develop skills that you haven’t practiced? I made that point to them all the time: If you practice, you’ll get better. It has to do with desire. As a teacher, I asked myself, “How can I motivate kids to want to do art?” I chose myself as my own guinea pig: What motivated me? When I graduated from Pratt, I taught deaf-blind children in the rubella unit of the New York Institute for Special Education for a year. I didn’t do any artwork, and by the end of the year, I was like a plant that hadn’t been watered. I felt lifeless. I didn’t know what was wrong with me. But I knew I needed to do artwork. I found it very difficult at first to get the voices out of the studio. When you graduate from an art college, there is this expectation—this method—of entering the art world. You enter juried shows, and if your art is accepted, you get to show it. People recognize your work, and eventually they start buying it. They had these regional art exhibits at Dartmouth years ago, and one time I won people’s choice for best of show. I was considered an up-and-coming artist. I sold paintings and drawings, and I got asked to be part of a show in Brattleboro—I had entered successfully. And yet it felt like this was the thing that was going to stymie me as an artist. Success in the regional art world brought very loud voices into the studio. I had a successful solo show in 1973, the year my daughter was born, and shortly after that I went into a kind of hibernation. I didn’t show my work to anybody. I just practiced, for years and years. Invisibility offered me the freedom to explore. I knew I wanted to work with the figure. I’m interested in human beings—faces, expressions. As a teacher, you have to be able to read a face. I bought a human skeleton, and I drew it. I studied anatomy. I went to every life drawing class I could find in the Upper Valley—and I found a lot of them. I did Kimon Nicolaides’s The Natural Way to Draw—he had a practice schedule that was so rigorous. Every three-hour session, he had you do 60 gesture drawings and then an hour of contour drawing. It was like taking an intensive course, and I did that when my children were babies. I met a teacher, Aidron Duckworth, who admired and encouraged my dedication to practice. It felt right. So I practiced constantly, and I got better. I even got pretty good. I became dedicated to practicing. I learned that the work was educating me to what it wanted me to know. This isn’t rare. Writers, musicians, dancers all talk about it. When you want to do something creative and you do it regularly, you connect with something greater than your own understanding.
Transition painting #3, Does a Sphere Kindle the Image?
Find image at www.uppervalleyimage.com â€˘
I learned for the first time that the work wanted to be in control of how it came out, and that if I just allowed the painting to develop, it would take over. The power and the wisdom is in the work itself. Itâ€™s there for you, and your job is to allow it to happen and receive it. â€”Joan Feierabend
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You spent a week at the Vermont Studio Center in 1986. What happened there? All you were supposed to do was go to your studio. You didn’t have to take care of your kids, cook a meal, clean the house, do anything. You were expected to just work. I took to that like you wouldn’t believe. I almost didn’t sleep, I was so involved in the work. I did a triptych that was six feet tall and fifteen feet long—big! I had taken with me about 200 gesture drawings that I had done from Two Penny Circus, which was a clown troupe out of Montpelier. I wanted moving models, so I asked them if I could draw them during their rehearsals. I thought I would do this triptych on performance art, and I’d have the evaluation on one side, the practicing on the other side, and the performance in the center.
So, you have to practice, you have to perform, and you have to see what you have done. The practicing and performing went along just as I had planned it, but for the evaluation thing, I thought I was going to paint a bunch of people standing around looking at the performance with judgment on their faces. But when I stood back and looked at my roughed-in painting, I saw I had painted a primordial forest with birds coming out of rocks, and I thought, yeow! The painting was informing me that it starts primordially. It was saying, this has nothing to do with just you. This is coming from the rocks, from nature, from birds, from some other space. I learned for the first time that the work wanted to be in control of how it came out, and that if I just allowed the painting to develop, it would take over. The power and the wisdom is in
From far left: Joan’s brushes. Woman Behind a Black Lace Curtain. Pastel study of a man.
Find image at www.uppervalleyimage.com •
You have to be sensitive to the idea that creative work has its own personality and that you are its conduit, not its master. Ask the work as if it’s a person: “What do you want me to do?” —Joan Feierabend
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the work itself. It’s there for you, and your job is to allow it to happen and receive it. I thought about what made that happen, and I realized it was working, all day long, showing up and being there. I didn’t know how to make paintings without looking at something; I was good at that, but I knew that wasn’t what this artistic journey wanted. I decided to do six drawings a day for the rest of the school year. I had three rules: I had to do six; if I didn’t do them, I had to make up what I missed; and most important, I couldn’t judge them. This practice made all the difference in the world, the nonjudgment and the showing up. I felt like a faucet had been turned on. I would pick up the pen and hear, “Draw this.” These were odd drawings— kind of funny, kind of wise. I knew I had found a secret, just showing up and making it happen; 1,680 drawings later, the school year was over and I had learned how to turn on the flow. Tell me about dowsing. I thought it was a method of finding groundwater with sticks, but you use it for painting and drawing. How does that work? The dictionary defines dowsing as a type of divination that’s used to locate objects and materials without scientific apparatus. I use it to make artistic decisions apart from my personal tastes and training. Years ago, I went to a one-day class in dowsing past lives at the Lightgate Learning Center in Thetford, Vermont. When I picked up the pendulum and asked it how it would say yes, it went whack-whack-whackwhack, like “Where have you been? I’ve been waiting to talk to you. Let’s get going.” That was my method of leaving the studio. Dowsing turned it over to an unknown voice. I was very curious when I learned that I could dowse. I quickly lost interest in the past-life aspect. For me, dowsing was a way to silence the personality voice and get to that mysterious creative voice. The pendulum becomes like a cell phone, a communication device. You’re not talking to a pendulum, obviously. I don’t know who you’re talking to, actually. When I discovered that I was
getting answers, I asked if I could paint. It said yes, but not right away. I had to wait six months. And it didn’t paint like me at all, not at all. It painted geometrically, nonrealistically, and there were always spheres. Eventually, it had me work in series, and I would create this body of work, and a show would materialize out of nowhere. When my mother died in 1998, I stopped dowsing for two years. I was right in the middle of a series, and that series never went anywhere. The paintings buckled. I knew I had to work, so I started drawing again. People started giving me sketchbooks, and I filled them and gave them back. I would draw in them every day. I did that for two years. After a while, I realized I could paint again. But it was slow. It was almost like back in the early days, when it was really hard to start a painting, but I kept at it. In the meantime, I was still practicing with painting portraits. You know, I’m known as a portrait painter. That’s how people know me: “Joan paints portraits.” But I don’t think of myself as a portrait painter at all— except that I’ve done hundreds of them. How do you think of yourself? I would say I’m an archaeological painter. I’m searching for some kind of connection through the earth for something I don’t quite understand. I think I’m using art as a way to search through life, and I think of it as a gift. While I was getting my MFA at the Vermont College of Fine Arts, I read The Gift by Lewis Hyde, and I began to understand that art has a different tradition from what college taught us. The Gift talked about the creative spirit as a blessing of sorts. We even talk about it as being gifted. I started seeing art not as a commodity that you sell but as a relationship. As a viewer, art is best lived with as a familiar presence. I became aware that gallery shows especially aren’t the best way to view work. After all, you are at a party, drinking wine, eating broccoli and dip, and catching up with the people who are standing around doing the same.
Opposite: Hannah. Portrait of a Young Girl. Below: Adding a layer.
Find image at www.uppervalleyimage.com •
From near right: 365 Daily Drawings and Inquiry, a project Joan began on October 20, 2015 and completed on October 20, 2016.
I’m interested in the creative process as the part of our brain that needs to be used for the sake of humanity. —Joan Feierabend
Museums are much better, especially if they are nearly empty, and reproductions in books, although not the real thing, offer an intimacy of holding as you look. Most artists have piles of paintings everywhere, hard to store and never seen. Museums have vaults of work that are never seen. That’s why I started giving my work away. It gets a life. It forms a new relationship with someone else. My first giving-away show was at the Thetford Library in 1995. Libraries are a gift to the community, and I wanted to thank them in a meaningful way. To have my paintings hanging out with books—with all the great minds of the world—that was cool for me. My show at the Kilton Library in 2015 raised several thousand dollars. All people had to do was speak for the paintings so I could mark them as taken, and when the show was over, they took them home in exchange for a donation of any amount to the library. Let’s talk about your recent work. Are you still dowsing? After the Kilton show, I began downsizing from a big house in Tunbridge where I had lived for 40 years. I did 40 i m a g e •
one drawing every day for a year during that transition. I didn’t miss one day, not even the day I moved to the new house. The 365 drawings are like lucid dreams, and each one is associated with a dowsed question. It was sort of like working with a therapist, where you tell them your dream and they ask you a question about it, except that the pendulum’s questions are quite esoteric. My last painting was partially dowsed. Before it was finished, the pendulum said, “You take it from here.” What else have you learned from making and teaching art? I think talent is a very troubling word because it implies that it’s something you either have or don’t have. I truly believe that we are all creative. In order to get kids to learn from their work, you have to steer them into a good way of looking at it. You don’t judge it; you just talk about it: What is going on here? What do you see? You describe it, carefully. Paying attention, without judgment, is critical. You have to be sensitive to the idea that creative work has its own personality and that you are its conduit, not its master. Ask the work as if it’s a person: “What
do you want me to do?” The kids would think this was a little crazy, but without fail, it would work. Oddly, it didn’t necessarily make the work better; it made it theirs. I’m interested in the creative process as the part of our brain that needs to be used for the sake of humanity. We are, with all our drama and misconceptions, in the way of a clear connection to something art is helping us find, some greater energy from which we are only a tiny spark. If we could only see this more clearly, we might be able to care more completely about the nature and needs of the whole. It is a huge struggle to see through our own personal drama. We need art and the practice of art to help us find a path for our personal journey. i For more information, email Joan at firstname.lastname@example.org. Find image at www.uppervalleyimage.com •
Owners and husband and wife team Joe Hanglin and Vicky Allard feature over 30 different Blake Hill varieties for tasting in their unique Specialty Preserves Shop.
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LOCAL FLAVORS By Meg Brazill Photos by Sarah Priestap EXCEPT WHERE NOTED
BLAKE HILL PRESERVES
HOW SWEET IT IS Sometimes it pays to listen to your mother.
For Vicky Allard and Joe Hanglin, listening, watching, and helping their mothers turned into a sweet life indeed. The husband and wife team are the founders and co-owners of Blake Hill Preserves, which has been making an award-winning line of artisan preserves, marmalades, and chutneys since 2009. Vicky is a third-generation preserves maker from Hampshire, England, who learned the craft of making jam in her mother’s kitchen; her grandmother was a chutney expert. Joe’s upbringing in Gibraltar (between Spain and Morocco, at the entrance to the Mediterranean) introduced him to the heady spices of North Africa and the fusion of Spanish and Moroccan cuisine and culture.
Find image at www.uppervalleyimage.com •
Clockwise from top: Recent graduates from one of Blake Hill's Marmalade Making master classes helped make a special Champagne and Rose Lemon Marmalade. Photo courtesy of Blake Hill. Blake Hill's new Specialty Preserves Shop is at the heart of Artisans Park in Windsor, Vermont. Special eight-jar sampler gift boxes are top-selling items together with a wide selection of varieties for pairing with cheese. Product photos courtesy of Blake Hill.
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The Old-Fashioned Way The secret to Blake Hill Preserves’ success sounds simple enough: They begin by sourcing the finest fruit to capture the fresh flavor of summer in a jar. “We are lucky that we can source our seasonal fresh fruits from local farms—typically within 20 miles or less of Blake Hill,” Vicky says. By using extra fruit and reducing the sugar in their recipes, the taste of berries and fruit is articulated, which also makes for a healthier product than the typical jam found on store shelves. Another secret to achieving the perfect set, or consistency, is making it the old-fashioned way, which requires cooking every batch of their chutneys, conserves, preserves, and marmalades slowly.
Origins When they moved to Vermont, Vicky and Joe discovered the nearly 200-year-old Blake Hill Farm near historic Grafton Village. It was for sale, and it was love at first sight. Views of the Green Mountains? Love. Winding old stone walls? Love.
Enticing wooded trails? Love. They purchased the farm soon after in 2004. The following summer, they discovered the farm’s wild blackberry and raspberry bushes, to which they added blueberries, gooseberries, and rhubarb. Early on, there was a bumper crop of blackberries—a spectacular abundance of the fresh fruit— that Vicky put to good use in the family tradition: She made jam. A combination of providence, hard work, and a bit of luck set them on course, and in 2009, they established Blake Hill Preserves. Berries from their farm continue to be used in their line of jams, chutneys, and marmalades. The company grew quickly. By 2012, they already needed a production kitchen. For Vicky and Joe, the completion of The Kitchen at Blake Hill was the realization of a dream. The Kitchen is a reconstruction of the cottage that Vicky’s greatgrandmother, Jessamine, had in England. What they couldn’t have anticipated was that in less than four years they’d break ground on a much larger commercialproduction facility in Artisans Park in Windsor, Vermont. The new building has
Top: Blake Hill's Specialty Preserves Shop features over 30 different varieties, all made in their Preserves Kitchen next door. Cabinetry was hand built by local craftsmen. Inset: Blake Hill's unique Wild Blueberries with Thyme is designed especially for pairing with Camembert or goat cheese. A 2018 Good Food Awards jam, it features the finest blueberries and Blake Hill's homemade thyme infusion.
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Blake Hill’s dedication to quality ensures holiday and hostess gifts that everyone will enjoy. “We rely on whole fruits and vegetables—and little else,” Vicky says. “Our preserves are always fat free and low in sodium.” given them not only a huge commercial kitchen but also room for teaching classes and a lovely retail shop. Blake Hill Preserves is in good company at Artisans Park with some of Vermont’s leading artisanal producers of cheese, beer, and spirits.
The Road from Grafton to Windsor
From top: Blake Hill's monthly cooking classes provide a hands-on opportunity to learn the art of preserves and marmalade making with one of the country's leading experts. Photo courtesy of Blake Hill. Blake Hill's new Naked Jams are already a top-selling jam and have no added sugar. They are simply light, healthy, and delicious. For the perfect holiday gifts, pick up a jar of Blake Hill's special Holiday Jam or the eight-jar mini sampler box.
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On a visit to Artisans Park, it’s easy to spot Blake Hill Preserves. The company’s 6,400-square-foot facility is painted a cheerful yellow, and the country village exterior belies its size. A handsome retail shop gives visitors a window into the jam-making process, and they can sample all the Blake Hill Preserves products. For example, imagine trying their Orange Marmalade with Ten-Year Single Malt Whiskey, created with the award-winning cheese makers at Jasper Hill Farm. The 2014 Gold Medal-winning marmalade is infused with a unique blend of two world-renowned single-malt whiskeys! Vicky suggests Tart Cherries with Cardamom and Port as a delicious glaze for roast duck, ham, or turkey. It’s also sublime paired with a creamy blue cheese and crackers. It uses the finest sour cherries with tawny port and a hint of cardamom. Blake Hill Preserves also offers preserves and jams such as Raspberry & Hibiscus, Wild Maine Blueberry, Strawberry & Rhubarb, and forager jams like Gooseberry & Elderflower—a
Blake Hill's top-selling preserve, Raspberry & Hibiscus, was one of their very first Good Food Awards varieties.
2017 finalist for the US Good Food Awards—not to mention Raspberry Chipotle & Cocoa, among other exquisitely paired flavors. If you’re not well acquainted with marmalade, Blake Hill’s marmalades are inspired. Vicky and Joe also have exceptional recipe ideas, such as spooning marmalade atop vanilla ice cream and adding a sprinkle of chocolate shavings. Their marmalades also make delicious fillings for chocolate cake!
Sweetness to Savor and Share Blake Hill’s dedication to quality ensures holiday and hostess gifts that everyone will enjoy. “We rely on whole fruits and vegetables—and little else,” Vicky says. “Our preserves are always fat free and low in sodium.” They never use artificial preservatives, depending instead on traditional methods such as apple cider vinegar, lemon juice, and just the right amount of (non-GMO certified) pure cane sugar to retain freshness naturally. This year, the company rolled out cooking classes, usually held the first Saturday of every month. Participants learn all the steps to producing a variety of preserves that’s unique to Blake Hill, often creating one that is special to the class. Blake Hill just launched its own Holiday Jam, made with a bit of strawberry and raspberry, which features local cranberries and fresh plums. “It’s not too tart and not too Find image at www.uppervalleyimage.com •
LOCAL FLAVORS sweet,” Vicky says. “It’s perfect for toast or on top of a creamy brie.” It will be available through the holiday season and is already their top seller. In addition to using non-GMO products, Blake Hill Preserves are koshercertified “OU” with a “Pareve” designation, which certifies that no dairy or meat ingredients are used. Thinking about gifts for family and friends with dairy allergies or those who are vegans or vegetarians? Blake Hill Preserves are special gifts that fill the bill. Sampler minis of preserves or marmalade (eight small jars to a box) or a gift hamper of two jars (of preserves or marmalade) make sweet gifts. There are also sampler boxes with crackers and shortbread and larger hampers of four or six jars. A six-jar sampler comes with a scone mix, or try the four-jar breakfast marmalades. Blake Hill was the first US producer to win gold at the World Marmalade Awards and, in the last three years, has been awarded seven Gold Medals, six US Good Food Awards, and a sofi Award from the Specialty Food Association. The awards give credence to what customers already know: Blake Hill produces some of the finest artisan preserves being made today. Vicky and Joe have found that truly great preserves are good anytime, from breakfast to dessert, for the dinner table, a holiday spread, or a traditional wedding feast. If there’s one thing these folks know, it’s how to jam! I Blake Hill Preserves 60 Artisans Way Windsor, VT (802) 674-4529 www.BlakeHillPreserves.com ONLINE EXTRA
For recipe ideas, go to www.uppervalleyimage.com.
Blake Hill Preserves contributes to events supporting local charities, with a focus on those providing quality food to people in need. They regularly donate preserves to local food banks, Meals on Wheels, and for auctions at fundraising charitable events. 48 i m a g e •
Lady P’s Boutique
Hubert’s Family Outfitters
406 Main Street New London, NH (603) 526-2555 facebook.com/LadyPsBoutique
219 County Road New London, NH (603) 526-4032 www.Huberts.com
231 NH Route 11 Wilmot, NH (603) 526-2600 www.FloorcraftNH.com
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Nourish Holistic Health & Nutrition
New London Opticians
Relax & Co.
3 Colonial Place New London, NH (603) 526-6990
120 East Main Street Bradford, NH (603) 526-2436 www.sunapeegetaways.com
207 Main Street New London, NH (603)526-6687 www.nhhnutrition.com Tue–Fri 10am–4pm Sat 10am–2pm
Larks & Nightingales Boutique 207 Main Street New London, NH (603) 526-6676 Find us on Facebook Mon–Sat 10am–5:30pm Sun 10am–3pm
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Mon, Tue, Fri 9am–5pm Wed & Sat 9am–12pm Thu 9am–7pm
New London Inn & Coach House Restaurant 353 Main Street New London, NH (603) 526-2791 www.TheNewLondonInn.com Please visit our website for menus, rates, and hours.
Mon–Fri 8:30am–5pm Sat and Sun by appointment
Unleashed 277 Newport Road New London, NH (603) 526-2088 www.UnleashedNH.com Mon–Fri 9am–5:30pm Sat 9am–5pm Sun 10am–2pm
Shop, Dine & Be Pampered!
Millstone at 74 Main
Creative Redesign, LLC
74 Newport Road New London, NH (603) 526-4201 www.74MainRestaurant.com
257 Newport Road New London, NH (603) 526-2800 www.ClarkesHardware.com
75 Newport Road New London, NH (603) 748-2487 Facebook/CreativeRedesign
Mon–Sat 11:30am–9pm Sun 11am–9pm, Brunch 11am–2pm
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Tue 1–6pm, Wed–Fri 10am–5pm Sat 9am–12pm
Lake Sunapee Region Chamber of Commerce
Flash Photo / Flash Pack & Ship
Gifts of Great Taste 428 Main Street New London, NH (603) 526-6656 www.gourmetgardenonline.com Mon–Sat 10am–6pm
Visit our website to fi nd out more about Local Loot! www.LakeSunapeeRegionChamber.com
New London Shopping Center 277 Newport Road New London, NH (603) 526-2400 www.FlashPhotoNH.com Mon–Fri 9am–5:30pm Sat 9am–2pm
Morgan Hill Bookstore
Blue Mountain Guitar
The Flying Goose Brew Pub
253 Main Street New London, NH (603) 526-5850 www.MorganHillBookstore.com
428 Main Street New London, NH (603) 526-5829 www.bluemtguitar.com
40 Andover Road New London, NH (603) 526-6899 www.FlyingGoose.com
Mon–Fri 9am–5:30pm Sat 9am–5pm, Sun 11am–3pm
Mon–Sat 11:30am–9pm Sun 11:30am–8pm
Find image at www.uppervalleyimage.com •
The author stands near the top of the World Cup Super G trail at Cortina d’Ampezzo, Italy. The FIS Masters Cup Super G starts just below the World Cup start. Opposite: First time’s the charm! The author on the podium after the Super G in Cortina!
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A deserted beach on Hudson Bay extends as far as the eye can see. The strand would
STORY BY LISA BALLARD 6 PHOTOS BY JACK AND LISA BALLARD
GOING FOR A
HOW A LOCAL 55-YEAR-OLD SKI RACER WON A WORLD TITLE
eveloping world-class ski racers is part of the fabric of the Upper Valley. Countless US Ski Team Members, including defending Olympic slalom champion Mikaela Shiffrin, age 22, have honed their skills on our local mountains. Mikaela could potentially rule the women’s World Cup for another decade. At age 39, New Hampshire native Bode Miller, the most successful American man in alpine ski racing, is on the cusp of retirement. But what if a skier wants to compete at an international level into his or her 40s, 50s, 60s—and beyond? The Fédération Internationale de Ski (FIS), the international governing body for snow sports, sanctions over 40 masters’ world cups around the globe each winter. Athletes ages 30 and over compete in five-year age groups, vying for the overall title among their peers. In addition, the FIS awards season-long discipline titles in Super G, giant slalom (GS), and slalom. There are no downhills in international masters racing. There are also no coaches, gear technicians, dietitians, masseurs, agents, or lucrative sponsorships. Athletes on the international masters circuit are on their own to train, coordinate their travel, tune their skis, and handle a myriad of other details while pursuing their ski-racing goals. Find image at www.uppervalleyimage.com •
Clockwise from top: A racer approaches the finish during the FIS Masters Cup at Cortina dâ€™Ampezzo. Muriel Jay (France), the author, and Silvia Giacosa (Italy) show off their globes. Opposite, top: A post-race lunch spot with a view of the Dolomites. Bottom: The author shows off her hardware after winning a Super G in Valle Nevado, Chile.
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That said, FIS masters racers do have three things in common with younger World Cup stars: a love of ski racing, the need for speed, and a desire to win a “globe,” the iconic trophy that looks like a cut-glass golf ball atop a hollow glass tee. A masters racer for almost 30 years and a regular on the podium at the US Alpine Masters Championships, I dreamed of going for a globe, but as a self-employed adult without extraordinary financial resources, I needed to pick my moment. That moment came last winter. At age 55, I would be the youngest in my age group so, in theory, the spryest. I could still hang with the fastest 30-somethings on the American masters circuit, but I knew that wouldn’t last forever. What’s more, the dollar was strong—a good time to travel abroad. Chile The FIS Masters Cup begins each year in South America, typically at Valle Nevado, La Parva, and/or El Colorado, three massive interconnected ski resorts
perched at 12,000 feet in the Andes above Santiago, Chile. Last year, the opener included two Super G’s and a GS at Valle Nevado, then a slalom at La Parva, so I packed my ski bags, brimming with excitement about visiting a place where I had never skied before and wondering who would show up. Winning an FIS Masters globe is a points chase. A skier’s best nine finishes count, with the finals—a GS and a slalom—worth double points. Attending the finals is a must, but otherwise, race locations are at each competitor’s discretion. Two of the top female masters racers in the world were in my class, Muriel Jay from France and Silvia Giacosa from Italy, but they didn’t show up in Chile. If I skied well, I would have a jump on both women going into winter. September is the beginning of the South American spring. Endangered Andean condors soared on thermals within a few feet of the small cluster of hotels at Valle Nevado. The weather was glorious, sunny and warm during the Find image at www.uppervalleyimage.com •
Top: View down the race hill in Cortina d’Ampezzo. Bottom: Slalom action on the FIS Masters Cup in Cortina.
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day but dipping below freezing at night, making the snow conditions bombproof early, then soupy by afternoon. On the first race day, inspection for the two Super G’s started at 7am, exceptionally early in hopes of completing both races before the warm afternoon temperatures turned the track to mush. Dawn broke as I got off the chairlift at the top of the mountain. Intending to use the terrain between the summit and the starting gate to warm up, I made cautious turns in the flat light. Suddenly one of my ultra-sharp edges caught on an unseen frozen lump just as I came onto a 500-foot headwall. I slammed onto my back and started sliding headfirst down the icy face. “I could die here!” shouted the voice inside my head as I accelerated down, down. Stopping required an adept roll such that the edges of both skis engaged fully. Otherwise, the leverage from my extra-long speed skis with their strong bindings would surely take out a knee. Three times I tried to self-arrest, but each time an unseen bump threw me back into a headfirst slide. On the fourth try near the bottom of the headwall, I veered enough toward the uneven edge of the piste and finally stopped. Another American, who had seen the fall, skied up to me. “Are you okay?” he asked, handing me my ski poles and helping me up. “It’s going to leave a mark,” I chuckled, shaken but trying to sound upbeat.
My left hip throbbed from my cartwheeling crash, but aided by large doses of ibuprofen, I managed to ace both Super G’s and the GS the next day. I rode the high into the last event, the slalom, blasting out of the start, and then found myself outside the course at the fifth gate. The strength had suddenly evaporated from my left leg, which screamed from the hip to the knee despite the painkillers. It worsened by the hour. Two days later, when I got off the plane at home, I could barely walk. A large hematoma had created crippling pressure under the iliotibial (IT) band, the connective tissue along the outer thigh. The only cure was time. Luckily, the rest of the ski season was two months away. My left leg was weak but better by the time the chairlifts opened in the Northern Hemisphere in November. By mid December, the FIS Masters Cup resumed in Europe. No surprise, Jay and Giacosa topped the result sheets after each event. I wondered how I would stack up against them, and though I longed to travel from race to race all winter in Europe, I couldn’t abandon work and family. From the beginning, I figured 15 starts would give me a reasonable shot at a globe, allowing for a few subpar days, like the slalom in La Parva, yet plenty of other chances to get points. I patiently waited for my next four races—two Super G’s, a GS, and a slalom—which would be in Park City, Utah, a race venue I knew well. My competition didn’t show up there either, and the golds were mine, a good confidence builder before heading to their home snow. Italy and the Czech Republic I chose back-to-back weekends in Cortina d’Ampezzo, Italy, and Pec pod Snezkou in the Czech Republic for a total of five races. Cortina offered three starts, Super G, GS, and slalom. I was curious to visit this famous European resort, the site of the 1956 Winter Olympics and an annual stop on the women’s World Cup. Pec pod Snezkou was located two hours from Prague, a city I longed to tour. My plan allowed me to see Prague midweek and then pick up two more starts, GS and slalom, before traveling home. Find image at www.uppervalleyimage.com •
The author (third from left) on the podium with the other racers in her age group, women ages 55 to 59.
The races in Cortina were an eye-opener. Over 300 racers competed each day, including more than 100 women, on the Tofana Olympia run. I bested Jay and Giacosa in the Super G, but both outskied me in the technical events. I had excusesâ€” jet lag, new place, new terrain, new food, new everything. Jay and Giacosa did not go to the Czech Republic, though 280 other racers were there. It was one of the high points of the winter for the cultural experience and my surprise win among all women in the GS. Pec pod Snezkou, the largest ski resort in the Czech Republic, is in the Giant Mountains, the highest range in a country with rolling topography and elevations similar to Vermontâ€™s Green Mountains. In addition to alpine skiers, hundreds of cross-country skiers and winter hikers pulling kids in sleds crowded the slopes and woody trails. The mundane architectural remnants of the Soviet era were painted happy colors, and the mood of the resort was friendly and upbeat. Then more bad luck. A stomach virus leveled me on the overseas flight home. The debacle landed me in the hospital on 58 i m a g e â€˘
an IV, then in bed for almost two weeks. When I finally got back on skis, the FIS Masters Cup finals were a mere week away, and I was even weaker than after the injury to my IT band. The Finals The field was smaller at the finals the first weekend in April, in Abetone, Italy. The ski resort, located in Northern Tuscany, had no snow except for the shell of ice on its race trail. Racers had to hike a quartermile down a grassy slope from the finish area to the gondola base. The lack of snow kept everyone away who wasn’t in contention for a globe. Among the dozen women in my age group, Jay and Giacosa were in the draw along with an Austrian named Brigitte Unger. The four of us started the weekend in a four-way tie for first. With the snow melting fast and the GS needing a longer run, race officials flipped the schedule, running the GS first— more bad luck for me. I had budgeted one day to get on my skis after the overseas flight, figuring I only needed to ski into the top three in the slalom on day two, when jet lag hits Find image at www.uppervalleyimage.com •
the worst. On day three, feeling better, I would race the GS, my stronger event, hoping for a win and enough points to earn the coveted crystal trophy for my age group. I charged down the GS but misjudged one critical turn just above the flats, bleeding speed. Determined, I kept pushing, but when I crossed the finish line, the scoreboard showed me in second place, .2 seconds behind Giacosa. Unger finished third and a devastated Jay finished fourth. I would need to ace the slalom to overtake the Italian. The next day, Jay pulled herself together, winning the slalom. Giacosa finished second, and I nabbed third, only .5 seconds off Jay’s pace. I skied my best slalom in recent memory, but it wasn’t good enough. I ended up third for the season in my group. Later that day, I graciously accepted a small globe for my efforts. It was a globe, though not the one I had set out to earn eight months earlier. Then the emcee announced the winners of each discipline. “The overall winner for Super G is Lisa Densmore Ballard from the United States.” The crowd exploded with applause and cheers, as the other Americans pushed me toward the stage. I had forgotten about the discipline titles. Overwhelmed with happiness, I hugged the enormous crystal globe. I was the first American woman to win the overall Super G title on the FIS Masters circuit! Again, it wasn’t the globe I had set out to win. It was even better. There’s a saying in ski racing circles that old ski racers never retire, they just go downhill. The FIS Masters Cup lets athletes at any age push themselves to their personal best, while offering a bonus: the chance to travel to some fascinating places. I can’t wait to do it again! i
For more information on how to compete and to see more photos, go to www.uppervalleyimage.com.
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Find image at www.uppervalleyimage.com â€˘
BY MARY GOW
PHOTOS BY JACK ROWELL
TIME - TESTED
GREEN MOUNTAIN GLOVES Quality craftsmanship for nearly a century
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In the production area, owner Kurt A. Haupt is surrounded by Pfaff sewing machines and several styles of gloves. Find image at www.uppervalleyimage.com â€˘
Clockwise from above: Cutting dies are used for stamping out pieces for a work glove pattern. Heidi Haupt with her father. Evangeline Pierce sews an electrical protector glove. Daphne carefully places a die on a piece of leather, making sure the it will stretch in the right direction. A neatly stacked pile of pattern pieces are ready to be sewn into a dozen gloves.
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“We put out a good, honest product, and people appreciate it,” says Kurt Haupt, holding up a pair of sturdy cream-colored goatskin work gloves. Just completed, each of these heavy-duty gloves has US patent number 2,719,980 stamped in green ink on the back of the thumb. The patent was issued in 1955 to Kurt’s father and namesake for this unique design, which is noted for its flexibility, strength, and proper fit. Today these gloves are still made in Randolph with the exact same pattern and craftsmanship. Many people who work with their hands believe they are the very best work gloves available. Quietly operating in Randolph, Green Mountain Glove Company makes top-quality leather gloves sought by utility companies, arborists, loggers, linemen, gardeners, and others who value a comfortable, well-made work glove that will last for years. This family-owned company founded in 1920 is now in the hands of third and fourth generations of Haupts. Every step in the gloves’ production—from cutting the tanned goatskins to the final steaming on hand-shaped forms—is done in the firm’s Pearl Street factory. “I take a lot of pride in it being a family business and being the fourth generation here,” says Heidi Haupt, Kurt’s daughter. “I have a lot of pride in the product. It’s great quality, and we stand behind it. It’s not every day you call a business and the person you talk with on the phone is the one actually making it for you,” she notes. Heidi, who knows all aspects of the gloves, specializes in sewing.
“I take a lot of pride in it being a family business and being the fourth generation here,” says Heidi Haupt, Kurt’s daughter.
A LONG HISTORY OF QUALITY Through the decades, Green Mountain Glove Company has seen lots of changes and has had its own changes in fortune. Rows of industrial sewing machines on its main floor attest to days when 30 or more skilled workers were employed there. Today a modest crew of four produces the time-tested gloves—Kurt at the helm and Heidi are joined by Daphne Herwig cutting the gloves and Evangeline Pierce sewing them. Most of the current production is for utility companies, but Green Mountain Glove also has loyal individual fans and consistently gains new fans who find them by word of mouth. In its early days nearly a century ago, Green Mountain Glove specialized in silk gloves. A lovely display in Kurt’s office features several of these graceful, long-fingered gloves with stylish cuffs. Richard Ernst Haupt, Kurt’s grandfather, had emigrated from Germany, where he reportedly apprenticed in glove manufacturing. He joined the Find image at www.uppervalleyimage.com •
How to Buy Green Mountain Gloves Green Mountain Gloves are available directly from the company. Customers can visit the website, call, or stop by the factory, but for visiting the factory, it’s best to call first. Heavy Duty Work Gloves sell for $65 a pair. Prices are comparable for other designs including Medium Duty Gardeners’ Gloves. For optimal fit, customers can determine their glove size by measuring around the knuckles while making a gently formed fist. Don’t include the thumb. Customers may also send a tracing of their hands for sizing. The company will make custom gloves for customers with unusual sizes or needs.
Clockwise from above: Heidi places a glove on a hot form to iron the glove. Pattern pieces are laid out as they are cut for work glove style #T-64G. Heidi straightens the seams on a protector glove. Kurt works on turning some protector gloves right side out. Daphne marks any imperfections on the goatskin hide before cutting it.
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company at its beginning and in 1939 purchased the business, at first in partnership with his brother but soon becoming sole owner. The Haupt family has owned Green Mountain Glove ever since. Richardâ€™s son Kurt, father of todayâ€™s Kurt, began helping in the factory during the 1930s when he was an adolescent. In 2010 at 90 years old, he was still helping his son make gloves. He passed away in 2011. Resourceful and inventive, Kurt was innovative in the factory and in glove design. A NOVEL APPROACH TO GLOVE DESIGN Kurt senior understood the qualities needed for a comfortable and effective work glove. He devised designs and was awarded patents including number 2,719,980 in 1955 for the heavy-duty work glove that has long been a best seller. This design features a novel approach to the thumb and palm intersection. Accommodating the shape and mechanics of the hand, it allows for great freedom of movement. Comprising 13 separate pieces, it is made of goat hide except for the cowhide cuff and cotton trim. In cutting the hides, Daphne, like her skilled predecessors, uses the thickest part for the palm and the thinner parts for the back. The seams are double-stitched and reinforced with thin strips of
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A stack of goatskin hides are laid out until they’re needed for production. Inset: Finished gloves.
leather for durability. Altogether, Kurt explains, “It takes a good hour” to make a pair of these gloves. Green Mountain Glove Company makes several styles, some very specialized. Protectors are large, long-cuffed gloves that go over rubber gloves used in working with low-voltage electricity. Linemen’s gloves have a separate thumb and forefinger for ease in handling lengths of line. Fingerless gloves provide palm protection for electronic assembly workers. Through the years, the company’s gloves have protected utility workers’ hands in 40 states. They have also traveled to Antarctica, where they protected the hands of the International Geological Survey Team. Today the company continues to work with utilities, Green Mountain Power among them. Compared to the 1980s when the factory was humming with over two dozen employees, industrial demand has declined. In part, Kurt sees the downturn as a consequence of outsourcing and the rise of lower-quality options. 68 i m a g e •
Green Mountain Glove Company has not generally had a large retail presence. In the past, they sold through Smith and Hawken and Gardenway. They currently have a basic website that they are considering updating. For now though, their reputation spreads mostly by word of mouth. Fans of good gloves that last forever seek them out and usually stay with them. “Things could be better, things could be worse, but we’re going to hang on,” Kurt says about the company’s future. i Green Mountain Glove Company 18 Pearl Street Randolph, VT (802) 728-9160 www.greenmountainglove.com Factory hours: Mon–Thu 7am–3:30pm Fri 7am–1pm Find image at www.uppervalleyimage.com •
Steven (left) and Jared track the action down court in a recent game between the Black team and the Green team. Opposite: Jared and John P. defend against Riley and John H.
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ACTIVE LIFE By Justine M. Kohr Photos by Rob Strong
FLOOR HOCKEY A LITTLE FRIENDLY COMPETITION When I first moved to the Upper Valley from Western Massachusetts nearly seven years ago, I had big plans. In the summer, I would plant and maintain my own vegetable garden and swim in local watering holes on the stickiest, most blistering days. In the fall, I would hike every weekend, alternating between the White and Green Mountains, in search of the summit that would top the one before. And in the winter and early spring, I would snowboard, snowshoe, sled—all the best snow activities—until my knees gave out.
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ACTIVE LIFE While heeding the call of the outdoors was easy enough in the summer and fall months, I found it much more difficult to check off my winter activity goals. As a writer, there’s nothing more appealing to me in the winter months than nestling myself within the walls of my cozy, dimly lit Victorian home with a good book and flannel pajamas.
Stay Active, and Warm! It was on one of those achingly cold, do-not-want-to-do-anything January nights when I saw an advertisement for a local hockey league looking for new players. I had played field hockey in high school, but this was different. This was floor hockey—the version I was quite sure I played during my middle school physical education classes. Four players, a ball instead of a puck, an indoor court versus an ice rink or a field. “Looking for a way to stay active this winter?” the posting read. I nodded to myself. “Join Upper Valley Floor Hockey. No experience necessary!” Well, that was a good start, I thought, since I hadn’t played since I was 10 years old. Seeing the league as an opportunity to stay active without having to endure the cold, I quickly responded expressing my interest. A week later, my husband Steve (whom I had convinced to play as well once I realized the league was coed) and I were at the CCBA in Lebanon with sticks in hand. Our first game was intense—I was one
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Below: Members of the Green team strategize at halftime. From left: Jared, Laura, John, Chrissy, and Bryn. Opposite, top: Goalie Phil stops a shot from John H. Low-scoring games are rare. Author Justine Kohr is at right. Below: Every game ends with handshakes and high fives.
of two women on our team, so I played the entire time—but I left thrumming with adrenaline and the kind of high you get only after a full hour of sprinting up and down a court until you feel like you’re going to pass out. That game awakened something in me I hadn’t known was asleep: a love for competitive team sports. I had played sports all through high school and thereafter, but that dropped off as soon as I left college. And as an adult, you’re left with few options. Golf is stress-inducing and expensive. Softball is fun but can be slow. I wasn’t a soccer player and I didn’t know rugby. But somehow, with this oddly casual-sounding sport, I sensed a renewal of that old competitive spirit I’d experienced years ago. And just like that, I had found my number-one winter activity—and one that would become a beloved all-season sport.
Launching a Lifetime Habit Upper Valley Floor Hockey launched in the summer of 2014 with the help of founders Becky and Jared Rhoads who, like me, were looking for a fun, competitive way to stay active and engage with peers in the Upper Valley. Becky and Jared were Find image at www.uppervalleyimage.com •
ACTIVE LIFE Members of the Red team assemble prior to their game against the Purple team. From left are Mary Beth, Vicky, Alessandra, and Tiffany.
living in Boston when they happened upon the Boston Floor Hockey League and decided to join. While Becky has played hockey all her life, including playing women’s ice hockey at the University of Vermont, Jared had no formal hockey experience. That didn’t stop him from falling in love with the sport. “We started playing year-round,” he says. Looking for work and to start a family, the Rhoads eventually moved from Boston and relocated to the Upper Valley. But the hockey itch persisted. “Honestly, we really started to miss playing,” says Jared. “At that point, we realized that we needed to either find a floor hockey league somewhere up here or create one.” When Becky and Jared started the league, there were just four teams. In the past couple of years, through word of mouth and promotion, interest in the league has increased greatly. Today there are eight teams with an 74 i m a g e •
average 10 players per team. Individuals of all ages and skill levels are welcome to play. The age range begins at 20 and ends with folks in their 50s. Skill levels range from no hockey experience at all to, like Becky, years of playing ice hockey at a very high skill level—and that’s one of the exciting things to witness at any given game, says White River Junction resident Jason Gramling, a former ice hockey player. “What I love about it is that it’s a lot of fun and we can be very competitive, but there are also many different skill levels,” says Jason, who joined the league looking for a way to stay healthy. “It’s a very open activity that anyone can join, no matter your experience. It’s one of the better organized adult activities in the area, in my opinion.” Becky and Jared are not without things to do—they have two small children and full-time jobs at the
Vermont Veterans Affairs and the Dartmouth Institute for Health Policy and Clinical Practice. Yet they’ve always made time to keep this much-loved local activity going strong, and it’s been gratifying for them to see it grow. “Getting to know a whole new group of people who share a love for this activity has been enormously rewarding,” says Becky. “We now have friends from all over the Upper Valley, not just our little neighborhood in Lebanon or the people we happen to know from work. The sheer process of creating something out of nothing more than an idea and seeing it come to fruition has been wonderful.” I
For more information on Upper Valley Floor Hockey or to join, visit uvfloorhockey.com. Find image at www.uppervalleyimage.com •
ON THE TOWN
Clockwise from top left: Manager and chef extrordinaire Charles Barnes. Customers like to relax in front of the fireplace with a glass of wine while waiting for their tables. Join your friends and neighbors in the tavern at the hand-built oak bar made by local carpenter Donnie Holmes. Your family will enjoy relaxing in one of two spacious dining areas.
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Dana Adams PHOTOS BY Ian Raymond BY
FARMER’S TABLE CAFE Fine fare and a focus on community
Ask anyone in the small town of Grantham, New Hampshire, to name their favorite place to eat and they’re likely to reply, “The Farmer’s Table.” Not surprising when you get to know owner Sara Hastings, whose family has resided in the town for generations. Sara’s mission when she opened the restaurant in June 2012 was to create for her friends and neighbors a nice, relaxing family place to meet and enjoy a delicious meal. And they certainly haven’t disappointed; they have arrived in force to fulfill her vision of a warm, comfortable place to gather, one that many regard as Grantham’s own version of “If you build it, they will come.”
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ON THE TOWN
From top: Many local contractors used their skills to install the woodfired oven. Halibut served with wild grain rice and broccoli. Slow-cooked ribs are fall-off-the-bone tender Right: Sara Hastings, owner. Opposite: Local friends visit with Sara. Cozy farmer's table in the tavern will easily seat 12 people.
“Is it a cliché to say Farmer’s Table reminds me of the sitcom Cheers?” asks Patty Forest, co-owner with husband Joe of Horton’s Farm, a historic horse-training facility. “Because everybody who works there knows our names.” 78 i m a g e •
A Comfortable Spot Others, especially skiers traveling to and from Vermont in the winter, venture off I-89 and have begun to spread the word about this small-town gem they’ve discovered. Regarding newcomers, we expect the locals may be a bit possessive—a few travelers should be allowed to enjoy their bestkept secret, after all, but they never want their favorite spot to become so crowded that they can’t get in! The Farmer’s Table is tucked into a rural shopping center, Rum Brook Place, a relaxed spot to shop at the country food market or buy home décor, gifts, and Benjamin Moore paints at Tresk Interiors. The restaurant fits seamlessly into the comfortable setting, and the fact that its interior is second home to antique farm implements makes it just about perfect. There’s a custom-made oak bar, vintage whiskey-barrel accents, and Sara’s father-in-law’s wooden ladder repurposed as a lighting fixture. Together with her future son-in-law, Dexter Kancer, a carpenter and chef, Sara renovated the space and started over with new equipment, a wood-fired oven for pizza, and a commitment to use fresh, locally grown foods in her recipes. The restaurant’s popularity led to Sara’s expanding the space, and she added the tavern in 2015. Keeping It Local “While we grow some of our own tomatoes, basil, and other herbs, we can’t produce enough for the restaurant, but that’s okay. We love having the opportunity to support our local farmers. We’re committed to serving farm to table food, and we understand completely why this movement is taking hold. It makes sense in so many ways, from freshness to transportation and keeping money in the community,” Sara says. Find image at www.uppervalleyimage.com •
ON THE TOWN
Above: A couple enjoys lunch. Two ladies relax and visit at a comfortable table in the tavern area. Opposite: Another view of the farmer's table in the tavern.
“I eat at the Farmer’s Table four nights a week on average,” says octogenarian Alden “Chick” Pillsbury, a former Grantham selectman and school board member. When it comes to the menu, Sara hands all the credit to manager and chef Charles Barnes. “I call him our chef extraordinaire, and he is fantastic,” she says. “Besides our regular menu, he creates specials based on what’s in season. We have an appetizer, a salad, and a pizza special each week, along with two entrée specials, usually one fish dish and the other either beef or chicken. Our specials are always listed on the chalkboard, and our regulars can’t wait to see what wonderful creations Charles comes up with each week.” Top choices from the regular menu include ribs and the burgers from grass-fed cows, available with all the fixings, seasoned to perfection and served on a brioche bun. “Our mac and cheese is always a favorite,” says Sara, 80 i m a g e •
“and each plate is made to order for every customer using fresh, handmade pasta, heavy cream, and a couple of cheeses—real comfort food!” Top-selling wood-fired pizzas are the Margherita, Portabella and Caramelized Onion, and Pesto Chicken. High on the list of other popular items are the nachos appetizer, French onion soup, and the Farmer’s Table famous award-winning clam chowder. Those delicious dishes are all made to order—as is everything on the menu. While the meal you savor will be a hard act to follow, the restaurant’s delectable desserts, made from scratch in-house, may end up stealing the show. And if a nightcap is on your wish list, the Farmer’s Table stocks a full bar, and local beers flow from its six taps.
Loyal Staff & Customers Sara is also quick to sing the praises of her employees. “Our waitstaff make everyone feel welcome,” Sara states. “They’re always smiling and friendly, no matter how busy they are. If someone falls behind, the others pick up the slack. We have a great team.” “Is it a cliché to say Farmer’s Table reminds me of the sitcom Cheers?” asks Patty Forest, co-owner with husband Joe of Horton’s Farm, a historic horse-training facility. “Because everybody who works there knows our names. I eat there several times a week and take my clients there too. When we have workshops, we order takeout,” she adds. “My lunch favorite is the chicken–apple wrap.” “I eat at the Farmer’s Table four nights a week on average,” says Alden “Chick” Pillsbury, a former Grantham selectman and school board member. Chick often meets his daughter and friends for dinner and good conversation. “I particularly like the ribs,” he adds. “I rarely order dessert or off the chalkboard menu, but I’m meeting two friends there tonight, and they probably will because the specials and the sweets are all reliably wonderful.” i Farmer’s Table Cafe 249 Route 10 North Grantham, NH www.farmerstablecafe.com Find image at www.uppervalleyimage.com •
BY SUSAN NYE ð PHOTOS BY IAN RAYMOND
/FLUTES / S W E E T A N D R E S O N A N T, E A C H I S A M A S T E R P I E C E
John Lunn counts himself a lucky man. For more than 40 years, he has been able to make both a living and a life he loves. “It’s no secret that it is hard to make ends meet as an artist,” he says. However, John has managed to do it with his incredible handmade gold and silver flutes. Along with truly wonderful sounds, Lunn flutes have amazing artistic details. “I found a sweet spot with flutes. I am able to create beautiful objects and beautiful sound,” he says.
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Opposite: John works at silver soldering a flute cup. Inset: The Owl and the Pussycat flute. Flute photo by Jeffrey Nintzel Photography. This page: John tries out one of his creations.
Every ﬂute is handmade, and the images are individually hammered, never cast. The detail is breathtaking, and the results are magniﬁcent.
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Right: Dipping a key in acid to clean it. Bottom: Chasing details into a flute lever with a hammer and tool. Insets: (Top) The Dryad’s Kiss flute. (Center) Close up of Lunn art nouveau thumb keys. (Below) 18-karat Dryad’s Touch flute. Flute photos by Jeffrey Nintzel Photography.
“The shape and size, everyone’s hands are different. My goal is to create instruments that work, not for the masses but for each individual artist.”
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Clockwise from left: John with one of his flutes. Detail of creating images in the silver flute keys. Work in progress on John’s bench.
A native of Ontario, Canada, John hoped to become a flutist and composer when he graduated from high school, but reality intervened. Unable to afford a university education, he went to work as an apprentice flute maker. Completing his apprenticeship, he followed his craft to Boston. After 10 years as a journeyman at Verne Q. Powell Flutes, John decided it was time to go out on his own. “I had my own ideas. Acoustic, aesthetic, and mechanical ideas that I wanted to pursue,” he explains. He moved to Newport and set up shop. Almost three decades later, gold and silver Lunn flutes are well known and
respected throughout the United States and abroad. FINE INSTRUMENTS FOR EACH MUSICIAN After years of playing, many flutists develop hand or wrist injuries and compromised mobility. John works with each individual to design and build an instrument that can be played in spite of an artist’s injury or limitation. With women making up the majority of flutists, that limitation can be as simple as small hands. Close collaboration allows him to create a flute that plays and sounds beautifully for each musician. He says, “The shape Find image at www.uppervalleyimage.com •
REAL PEOPLE and size, everyone’s hands are different. My goal is to create instruments that work, not for the masses but for each individual artist.” When she was ready to upgrade to a custom flute, Nola Aldrich of Wilmot chose a Lunn flute. An active musician in the Lake Sunapee/Kearsarge region, Nola plays with a flute choir, community band, and local orchestra. She says, “John is very knowledgeable and thorough. He worked with me and was able to address all my concerns and answer all of my questions.” She now has three Lunn flutes. Styles of playing and sounds have changed over the past several years. “The biggest trend I’ve seen is that flutes have gotten louder and brighter. A lot louder and brighter,” says John. Wary of this trend, Lunn flutes tend to stick with quieter, sweeter tones. Performer and teacher Nicole Densmore of New London is delighted to play one of John’s flutes. “I didn’t realize that my old flute was holding me back. Playing a Lunn flute is a dream come true,” she says. Full of enthusiasm, Nicole continues, “John is brilliant, a renaissance man. His extraordinary craftsmanship produces a pure and uncompromising sound.” Nola adds, “Lunn flutes are very responsive. They have superb tone, sweet and resonant. I am sure that my playing has improved.” Working in both gold and silver, John has found that many flutists have a preference for one or the other. He explains, “The sound is different; a gold flute is generally rounder and mellower. A silver flute will produce brighter, full-bodied tones.” EACH FLUTE TELLS A UNIQUE STORY Along with beautiful sound, John creates flutes that are works of art. Back in the 1990s, John began adding imagery to his flutes. He started with stylized vines and other flora in the tradition of art nouveau. Today, his flute decorations are more literal and literary. Through finely wrought, miniature sculptures, Lunn flutes tell stories in amazing, intricate detail. Fabulous tales of wood nymphs, the adventures of Narnia and The Hobbit, images from The Magic Flute, and the four 86 i m a g e •
Performer and teacher Nicole Densmore of New London is delighted to play one of John’s flutes. “I didn’t realize that my old flute was holding me back. Playing a Lunn flute is a dream come true,” she says.
san nye photo by su
seasons find their way onto Lunn flutes. Every flute is handmade, and the images are individually hammered, never cast. The detail is breathtaking, and the results are magnificent. John explains, “No two are ever alike, and each flute is a cooperative effort. I work closely with flutists to learn what they are looking for, make suggestions, and add a bit of whimsy.” Through this close collaboration, John produces flutes that are an undeniable reflection of the individual musician. Nicole’s silver flute tells the tale of The Dryad’s Kiss. Taking its cues from Greek mythology and The Chronicles of Narnia, a young fairy is seduced by the dryad king. With that kiss, she is turned into a wood nymph and entrapped in a tree. The story unfolds through the finely wrought sculptures that top each of the keys. “The silverwork is stunning. Every inch is filled with details. It is incredible,” says Nicole. A true artist, John pours his heart into every flute. The result is a truly unique musical experience of sound, sight, and touch. The culmination of decades of design and handwork, each instrument is a remarkable piece of art and sound. I Want to learn more? Visit John’s website at www.johnlunn.com, call him at (603) 454-5325, or send him an email at email@example.com. You can also visit his studio at 23 Fletcher Road in Newport, New Hampshire. Find image at www.uppervalleyimage.com •
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COMMUNITY By Elizabeth Kelsey Photos courtesy of the National Center for PTSD
In White River Junction
A World-Class Institution Aims to Heal Trauma THE US DEPARTMENT OF VETERANS AFFAIRS NATIONAL CENTER FOR PTSD
“I used to love to walk the National Mall or go into the museums or different venues in and around Washington. I quit going to crowded areas. I was constantly on guard, looking around, watching everybody’s movement.” In a clip for the video series AboutFace, Colonel Reedy Hopkins, who served in the US Air Force from 1983 to 2011, describes the onset of his PTSD (post-traumatic stress disorder). Colonel Hopkins traces his condition to an explosion that hit his convoy in Iraq in 2005. As his PTSD developed, his relationships with his family members deteriorated; he began to abuse alcohol; and everyday actions such as dining in a restaurant or driving on the highway became terrifying, as he confused them with high-stress incidents he had experienced in combat.
© katarzyna bialasiewicz | dreamstime
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The four defining symptoms of PTSD can vary with each individual case but include reliving a traumatic event, avoiding situations reminiscent of the event, having negative changes in beliefs, and experiencing a feeling of being on edge.
Paula Schnurr, executive director.
Left: Dr. Nancy Bernardy, director of the Center’s PTSD mentoring program, speaks with a veteran about PTSD. Below: Dr. Elissa McCarthy, consultant, talks with Todd McKee, program manager of the PTSD consultation program.
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AboutFace depicts a gallery of PTSD as seen through individual portraits of afflicted veterans, affected family, and treating clinicians. The series is one of many resources offered by the Department of Veterans Affairs National Center for PTSD. Created in 1989, the center consists of seven VA academic centers across the US. Headquartered in White River Junction, it provides research, education, and training to advance the social welfare of US veterans and others who have experienced trauma. Human beings are biologically and psychologically built to deal with stress, according to the center’s executive director, Paula Schnurr, PhD. “When we undergo minor stressors, even major stressors, usually we adapt,” she says. “We talk to other people. Sometimes we think about things and just think about them differently, and we ultimately incorporate that experience into our view of ourselves and the world, and we go forward.” PTSD, however, occurs when a person is unable to recover from a significant stressor.
What Causes PTSD? People with PTSD have reactions that last longer than three months, cause great distress, and disrupt their lives in the way Colonel Hopkins describes in his video. The four defining symptoms of PTSD can vary with each individual case but include reliving a traumatic event, avoiding situations reminiscent of the event, having negative changes in beliefs, and experiencing a feeling of being on edge. Because of their exposure to combat, veterans are at particular risk for developing PTSD, but many traumas can cause the condition, including childhood sexual abuse, witnessing a horrible accident, and losing a loved one to a violent or unexpected death. Mass shootings, such as last October’s in Las Vegas, and natural disasters, such as Hurricanes Irma, Harvey, and Maria, leave psychic wounds in
their wake, in addition to their more obvious physical destruction. It’s estimated that 7 percent of the American population has suffered from PTSD at some point in their lives; 10 percent of the VA’s national patient population has PTSD, although rates are even higher (up to 25 percent) in younger veterans returning from Iraq and Afghanistan.
Who Gets PTSD? Why do some people and not others develop PTSD, even when the events they endure are similar? “We now understand that a range of factors about a person’s experiences before they ever had the traumatic event, the event itself, the characteristics of the event, and then the recovery environment all make a difference,” Paula says. She adds that PTSD does not mean a person is weak—anyone can develop the condition. Although PTSD is impossible to predict, predisposing factors include experiencing childhood adversity, having a previous psychiatric problem such as depression, and being younger when the traumatic event occurs. Other influences include being injured in the event, a horrific loss of life, or repeated exposure to trauma, as in the case of domestic violence.
Treatments and Research The center established the world’s first PTSD brain bank in 2015, where studies of human tissue may yield targeted medications in the future. And while some existing medications such as SSRIs (selective serotonin reuptake inhibitors) treat PTSD symptoms, others, such as benzodiazepines (e.g., Valium and Xanax), are harmful in the long term, which is why the center reaches out to area providers to offer safer alternatives. Guidelines from the VA and the Department of Defense recommend Find image at www.uppervalleyimage.com •
COMMUNITY trauma-focused therapies that address the underlying cause of PTSD symptoms. Paula and her colleagues researched two of the most successful of these treatments at the White River site: In cognitive-processing therapy, a patient learns to evaluate and change distressing thoughts, while in prolongedexposure therapy, a patient works with a counselor to gradually confront the traumatizing event by talking about it but also by engaging in the situation. “Let’s say you were raped in a place that is objectively safe, but for whatever
reason you were there at night and somebody found you,” Paula says. “You could go to that location during the day, assuming it’s a safe location. You could go there and learn to stay in it until you’re feeling this process of extinction happen.”
Healing from Trauma Since Colonel Hopkins received counseling, his disturbing dreams have abated, his connection with his children has improved, and he has become involved in a loving relationship. He
says he shares his story in AboutFace with the hope that it will inspire others to seek help. “When you can walk through it with a trained professional,” he says, “they have a way of making you look at it from all the angles—not just the one perception that you have. That’s what it took to give me a different mind-set. For me, it allowed me to see things differently and a little clearer, and to make a little more sense of what happened that day.” I
For More Information Do you think you or someone you care about may have PTSD? Find help at www.ptsd.va.gov/public/ where-to-get-help.asp. Meet Colonel Hopkins, other veterans, family members, and clinicians in AboutFace: www.ptsd .va.gov/apps/AboutFace.
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PICK ar t s & enter t ain m en t
10:05 A Train to Chicago: Sculptural Assemblage Works by John F. Parker
Through December 31 10:05 A Train to Chicago: Sculptural Assemblage Works by John F. Parker After 40 years of designing and building houses, John Parker is now focusing on his lifelong passion of creating sculptural wall assemblages. Mechanical, geometric, and often with a story, these works represent the timelessness of old found materials, using only the original color and patina of the wood and objects. White River Gallery @ BALE www.balevt.org/white-river-gallery
November 15–January 7 The Little Mermaid Adapted from Hans Christian Andersen’s beloved tale, this Disney classic will delight Northern Stage audiences of all ages. Mermaid Ariel is fascinated by the world and lives of people on dry land and longs to someday join them, though her father, King Triton, forbids it. With music by eight-time Academy Award winner Alan Menken, this beautiful tale of love will capture your heart with its irresistible songs including “Under the Sea,” “Kiss the Girl,” and “Part of Your World.” Northern Stage, the Barrette Center for the Arts northernstage.org
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December 2–16 Festival of Trees Visit our display of more than 50 beautifully decorated holiday tabletop trees designed and donated by local artists, businesses, and individuals. While they last, choose from more than 50 varieties of delicious homemade cookies for your holiday tray throughout this event. Enfield Shaker Museum 10am–4pm www.shakermuseum.org
December 2, 3 Stardancer Studios Presents Clara’s Cracked Christmas Claremont Opera House 2, 6pm; 3, 1pm www.claremontoperahouse.info
December 3 Special Hours: Grafton’s Holiday Celebration & Open House In conjunction with Grafton’s townwide celebration and open house, the Nature Museum will be open on Sunday. The Nature Museum 10am–4pm www.nature-museum.org
December 3 Silk Scarf Dyeing Workshop Join artist and retired art teacher Kate Mortimer for an interactive session using natural dyes to create beautiful textile products. In this workshop, participants will work with the instructor to dye their own silk scarf. Enfield Shaker Museum 1–4pm www.shakermuseum.org
December 3 Eric Mintel Quartet Lebanon Opera House 4pm lebanonoperahouse.org
December 7 Holiday Wreath Making Join a museum educator to create a masterpiece from evergreen branches and herbs grown in the Shaker Herb Garden. Each person will take home a finished wreath. Enfield Shaker Museum 5–7:30pm www.shakermuseum.org
December 7, 9, 10 Clara’s Dream New choreography lends fairytale magic to our version of The Nutcracker, a timeless classic that brings the season’s dreams to life. Lebanon Opera House 7, 7pm; 9, 1 & 4pm; 10, 3pm lebanonoperahouse.org
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December 16 Eaglemania – the World’s Greatest Eagles Tribute Claremont Opera House 7:30pm www.claremontoperahouse.info
December 17 Festival of Trees Gala
December 8 Mighty Acorns Club: Being Connected to Nature – Learning from the Abenaki For thousands of years, the indigenous people of the Abenaki tribe have lived in harmony with the land and have gained a deep knowledge and respect for it. Come learn about what life was like before our time and how living closer to the land made people more connected to nature. The Nature Museum 10–11:30am www.nature-museum.org
Bring your family and friends and join us for an evening of holiday cheer as we draw the winning tickets and award the trees. Holiday music, cocktails, hors d’oeuvres, and extended hours in the gift shop will round out the festive evening. Enfield Shaker Museum 5–7pm www.shakermuseum.org
December 27 Recycled Percussion Lebanon Opera House 4 & 7:30pm lebanonoperahouse.org
December 27 Recycled Percussion Lebanon Opera House 4 & 7:30pm
January 6 Kindred Spirits: The Secret Lives of Winter – Active Animals and Finding Their Clues Come learn about the many sneaky animals of winter and how to find the hints and clues of their winter wanderings. The Nature Museum 10–11:30am www.nature-museum.org
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January 31 The 13-Storey Treehouse Lebanon Opera House 10am
January 12 Mighty Acorns Club: Winter Animal Wonders – How Animals Survive the Winter Come learn about the different animals of Northern New England and how they survive the winter. Investigate animal pelts, paws, wings, and feathers to get a closer look at some of these animals’ adaptations. The Nature Museum 10–11:30am www.nature-museum.org
January 20 The Tempest Claremont Opera House www.claremontoperahouse.info
January 31 The 13-Storey Treehouse
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Who wouldn’t want to live in a treehouse? The deluxe model Andy and Terry call home is equipped with a bowling alley, secret underground laboratory, and self-making beds. Lebanon Opera House 10am lebanonoperahouse.org
January 31–February 18 Only Yesterday Paul McCartney and John Lennon together again for one night only. This intimate play brings to life a little-known night when John and Paul were becoming the most famous young men on Earth. Stranded in a hotel room in Key West, they have some laughs, but as their talk turns serious, they bond over the revelation of traumatic childhood events they have in common and fi nd inspiration for the music that changed our lives. Northern Stage, the Barrette Center for the Arts northernstage.org
February 3 Kindred Spirits: What’s the Reason for the Season? Understanding Winter’s Wonders Many enjoyable things like skiing, snowboarding, sledding, ice skating, and snowshoeing would not be possible without the cold, snow, and ice of winter. What’s the science behind it all? Come learn the answers and present your own winter queries! The Nature Museum 10–11:30am www.nature-museum.org
February 9 Mighty Acorns Club: Wild Winter – the Hows and Whys of the Winter Season Why are snowflakes sometimes big and other times small? How do snowshoes make it easier for you to walk through the snow? Come find out the answers to some of these questions and learn more about the hows and whys of winter. The Nature Museum 10–11:30am www.nature-museum.org
FREE COMMUNITY CAROL SING
February 28–March 18 Disgraced Amir Kapoor is a successful PakistaniAmerican lawyer who is rapidly moving up the corporate ladder while distancing himself from his cultural roots. Emily, his wife, is a white artist whose work is influenced by Islamic imagery. When the couple hosts a dinner party, what starts out as a friendly conversation escalates into something far more damaging. Northern Stage, the Barrette Center for the Arts northernstage.org
Celebrating families by bringing together young and old for an old-fashioned holiday sing-along. Hosted by Kind Bud with his acoustic guitar. For more information, visit thekindbuds.com or email firstname.lastname@example.org.
December 9 Seven Stars Meeting Hall Sharon, VT 3:30 pm
December 10 Memorial Hall Wilmington, VT 3:30pm
December 22 The Stowe Inn Stowe, VT 7pm
December 23 Pizza Stone Vermont Chester, VT 5pm
December 16 West Rutland Town Hall West Rutland, VT 3:30pm
December 17 Stowe Town Hall Stowe, VT 3:30pm
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THE PICK Hopkins Center Highlights Dartmouth College, Hanover, NH (603) 646-2422 www.hop.dartmouth.edu The Hopkins Center Box Office is open Monday through Friday from 10am to 6pm.
December 2 Air Play The Moore Theater 3 & 7pm
December 14–17 The Christmas Revels Spaulding Auditorium 14, 6pm; 15, 7pm; 16 & 17, 1 & 5pm
January 5, 6 Teatro Sur: Inútiles (Useless) The Moore Theater 8pm
January 9 Roomful of Teeth with Tigran Hamasyan, Piano Spaulding Auditorium 7pm
January 11, 12 Malpaso Dance Company The Moore Theater 11, 7pm; 12, 8pm
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December 14â€“17 The Christmas Revels Spaulding Auditorium 14, 6pm; 15, 7pm; 16 & 17, 1 & 5pm
January 9 Roomful of Teeth Spaulding Auditorium 7pm
January 13 HopStop Family Show: Tanglewood Marionettes: The Dragon King Alumni Hall 11am
January 19 Riyaaz Qawwali Spaulding Auditorium 8pm
January 24 Musicians from Marlboro Spaulding Auditorium 7pm
February 2 Dartmouth Idol Semi-Finals Spaulding Auditorium 8pm Find image at www.uppervalleyimage.com â€˘
February 6 José González with Special Guest Bedouine Spaulding Auditorium 7pm
February 3 HopStop Family Show: Middle Eastern Dance Club and Soyeya African Dance Troupe Alumni Hall 11am
February 4 Jabber by Geordie Productions Spaulding Auditorium 2pm
February 6 José González with Special Guest Bedouine Spaulding Auditorium 7pm
February 9 Dartmouth Symphony Orchestra Spaulding Auditorium 8pm
February 13 Gregory Porter Spaulding Auditorium 7pm
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February 24 Barbary Coast Jazz Ensemble Spaulding Auditorium 8pm
February 13 An Evening with Gregory Porter Spaulding Auditorium 7pm
February 16 Dartmouth College Glee Club Spaulding Auditorium 6:30 & 9pm
February 16–18, 22–25 1984 The Moore Theater 16, 17, 22–24, 8pm; 18 & 25, 2pm
February 17 World Music Percussion Ensemble: Afro Pop and Dance Faulkner Recital Hall 8pm
February 18 Dartmouth College Wind Ensemble Spaulding Auditorium 2pm
February 24 Barbary Coast Jazz Ensemble Spaulding Auditorium 8pm
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ADVERTISERS INDEX 506 on the River Inn 27
Feetniks Footwear 31
Patel Dental Group of Upper Valley 48
AVA Gallery and Art Center 74
Flash Photo 51
Phoenix Rising Boutique 31
A. Hamalainen Design 96
PowerHouse Mall 87
Ann Swanson Real Estate 85
Gilberte Interiors 8
Quail Hollow 86
Annemarie Schmidt European Face & Body Studio 9
Gourmet Garden 51
Quechee Home, Porch & Closet 26
Guaraldi Agency 99
Ramblers Way 2
Appletree Opticians/Dr. Donna Reed 75
Hanover Inn 23
Relax & Co. 50 & 95
Hubert’s Family Outfitters 50
Revels North 16
ArtisTree Gallery 86
Richard Electric 96
Baker Orthodontics 69
Jancewicz & Son 6
Riverlight Builders 74
Barre Tile 101
Jeff Wilmot Painting 100
Jozach Jewelers 59
Robert Jensen Floral Design/Winslow Robbins Home Outfitters 3
Benjamin F. Edwards & Co. 69
Junction Frame Shop 68
Rosanna Eubank, LLC 80
Just Paradise 80
Schmidt Physical Therapy 9
Bentleys 27 & 101
Lady P’s Boutique 50
Biron’s Flooring 98
Lake Sunapee Region Chamber of Commerce 51
Springfield Medical Care Systems Inside front cover
Blood’s Catering & Party Rentals 94
Lake Sunapee VNA & Hospice 25
Blue Mountain Guitar 51
Larks & Nightingales Boutique 50
Boynton Construction 101
LaValley Building Supply 49
Carolyn Egeli Artist 1
Loewen Window Center 98
Carpet King & Tile 91
Longacres Nursery Center 19
Charter Trust Company 15
Love’s Bedding & Furniture 102
Clarke’s Hardware 51
MJ Harrington Jewelers 75
ClearChoice MD 87
Mascoma Dental 23
Co-op Food Stores 5
McGray & Nichols 61
Cota & Cota 58
Merten’s House 81
Country Kids Clothing 31
Millstone at 74 Main Restaurant 51
Creative Lighting Designs & Decor 57
Morgan Hill Bookstore 51
Creative Redesign 51
Mountain Valley Treatment Center 99
Crown Point Cabinetry 29
Mt. Ascutney Hospital 60
DHMC Dermatology 57
NT Ferro 27
Davis Frame Co. Inside back cover
Nathan Weschler 58
Donald J. Neely, DMD 41
Nature Calls 11
Dorr Mill Store 94
New London Inn and Coach House Restaurant 50
Strong House Spa 26 Sugar River Bank 85 Summercrest Senior Living Community 21 TK Sportswear 91 Tatewell Gallery 91 The Carriage Shed 4 The Flying Goose Brew Pub 51 The Gilded Edge 16 The Ultimate Bath Store 7 The Vermont Spot 26 The Woodstock Gallery 27 Topstitch Embroidery 98 Tuckerbox 88 Twin State Coins & Treasures 99 Tyler, Simms & St. Sauveur 81 Unleashed 50 Upper Valley Haven 47 Upper Valley Oral Surgery 25 Village Pizza & Grill 60
Dowds’ Country Inn & Event Center Back cover
New London Opticians 50
Dutille’s Jewelry Design Solution 61
Northcape Design Build 14
White River Family Eyecare 97
Eastern Oil Company 67
Northern Motorsport 92
Wicked Awesome BBQ 14
Enfield Shaker Museum 81
Nourish Holistic Health & Nutrition 50
Woodstock Area Chamber of Commerce 26
Ennis Construction 59
Old Hampshire Designs 41
Woodstock Inn & Resort 68
Eyeglass Outlet 86
Omer & Bob’s 100
Farmer’s Table Cafe 47
Opera North 21
For more information about print and online advertising opportunities, contact Bob Frisch at (603) 643-1830 or email firstname.lastname@example.org. Find image at www.uppervalleyimage.com •
CELEBRATE THE MOMENT
celebrating YOU and Yours this Winter!
The KIXX Radio group celebrates David’s House founder Dick Cyr’s 80th birthday.
Elizabeth Lowe, daughter of Daphne and Courtney Lowe, at her graduation from Dickinson College in May 2017.
Eight-month-old Sophie Haigh of Lebanon, New Hampshire, is still working on her foot skills but has mastered the art of cuteness.
Madelin’s junior prom with Greg.
Fishing with her dad in Boston Harbor, Hanna catches a 25-pound, 40-inch-long striped bass.
Logan, Jaden, and MacKenzie welcome baby Jackson. 104 i m a g e •
From left: Steve, Ralph, Bill, and Bob celebrate nearly 30 years of doing business together.
Send photos of your special moments to dthompson@mountainview publishing.com.
Read about how a local 55-year-old ski racer won a world title, the quality craftsmanship of time-tested Green Mountain gloves, John Lunn's...
Published on Nov 22, 2017
Read about how a local 55-year-old ski racer won a world title, the quality craftsmanship of time-tested Green Mountain gloves, John Lunn's...