October 1994

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TABLE

0 F

CONTENTS

October

■

1994, Volume 9, Number 7 *

Made In Maine. The Story.

u

Maine Jewelry Designers: Patricia Daunis-Dunninc & Michael Good

27

The Waldoboro Button Factory. Pleasant Bay Bed & Breakfast Llama Keep.

Ron Rcgicr Fortepiano Factory, Tex's Tortillas

By Gwen Thompson

Story & Photos By Kevin LeDuc

Page 11

DEPARTMENTS

Restaurant Review: Shalimar Of India

By Mark Mickalide

38

4 Letter From The Editor 5 Letters 35 Listings 45 Classifieds

Above: Patricia Daunis-Dunning and five-year-old Sammy relaxing at home. See story on page 27.

Page 11

Cover Art. "Deering Oaks." watercolor by John Legere. Photo by Kevin LeDuc. October • Portland Monthly Magazine • 3

FROM

• Romantic Getaway from $130 per room, to include breakfast. Horsd'oeuvres, and pampering • Open Year-Round • Five Luxury Rooms • Individual Fireplaces • Jacuzzi • Hand-Carved Four-Poster Beds • On-Premise Restaurant • Spectacular Lake Views • Non-Smoking Environment • Special Winter Rates

Upon Uty Boy Rood Greenville. Maine 04441 2 0 7 - 6 9~ 5 - 4 4 6” 0 ”

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Featuring: • 19th Century Paintings • 18th-19th Century Furnishings • Architectural Iron Gates • Columns • Marble Sculpture • Mantles • etc • Oriental Japanese Block Prints • Porcelain China • Ivory • Furnishings • Paintings by Maine Artists John Dehlinger • Terry Wolf Wilder Oakes • Jon Legere

Open 10 am - 8 pm 7 Days 221 Commercial direct. Portland. xlaine ST'-KXS'T or lor an appointment 7<K’-c011

4 • Portland Monthly Magazine • October

The Made In Maine Idaho Potato™ s portability inversely proportional to quality? Baron Alexis De Tocqueville, the great thinker who so profoundly observed Americans in 1831 in his landmark Democracy in America, thought so.

Oh, he saw our fast-food restaurants.

He looked into the future and saw our culture on roller skates, sacrificing everything of value in the name of portability and convenience.

In fact, he predicted everything but notebook computers (better as they got smaller and more portable), the 1957 Thunderbird (worse when it got larger), and Green Designs, the white-hot new furniture company with a showroom on 267 Commercial Street whose products get astonishingly better when shipped via air overnight anywhere in the country by Federal Express, their only shipping agent. Through a math no one seems to have considered before, their lovely , 100% cherry, jazzy Mission-style furniture collapses into packages so small that Federal Expressing them costs just half the trucking fee. What a

EDITOR market niche-nifty portage as we plunge into the destructive element of America post-2,000 A.D. “We just two-day overnighted a cherry dining room table to California for $120 via Federal Express,” owner-designer Douglas Green beams.

Speaking of nifty Made In Maine products, I’ve got one for you. I called Joan Anderson Cook at the State Department of Economic Development to find out what it takes nowadays to be labelled Made In Maine—to be listed in the statefunded color catalog of Made In Maine products, and it seems you need only five of eight possible points to earn the Made In Maine stamp of approval. For instance, your raw materials might be from out of state, but your design, "value-added labor (I love that phrase),” original concept, packaging, distribution, and shipping could be done right here, within the call of seagulls and sight of lobsterboats.

So I’ve got a product for your catalog, guys. It’s called “The Made In Maine Idaho Potato™” 1 mean this just came to me! We’ll wash them here, put our special value-added Made In Maine Idaho Potato™ stamp on them here (featuring Andre the sea lion cavorting with a langouste), design a precious little box for them, pack them in lobster tissue, have ‘my Boston ad agency' farm out some contract work to a local freelancer, dash off a laser catalog, wear puffin turtlenecks, have Tim Sample customize our voice mail...

Warner Brothers

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Per our conversation, Warner Bros. Distributing (Canada), Ltd. will shortly commence filming the television series “The Great Defender,” and we are requesting permission to use various recent issues of Portland Magazine as a prop and/or set dressing.

“The Great Defender” is a television series about a streetwise attorney who defends the blue collar segment of Boston society, sometimes paid with dishes of lasagna or not paid at all. In one incident, Lou comes up against a prestigious Beacon Hill law firm.

After a few misunderstandings and setbacks, he wins the case for his client. The pilot ended with Lou moving to Beacon Hill to join the prestigious law firm. Please be advised that there will be no direct references to Portland Magazine, as it will only be used as a prop and/or set dressing to portray the area in which the show is based.

Please contact me as soon as possible as we commence filming shortly and would like to obtain issues via Federal Express, numbers enclosed.

Thanks again for your assistance with this matter.

The Perfect Gift Is Ageless Antique jewelry recognized for quality, value, and unique style collected with a discerning eye.

When you're shopping for yourself or a" loved one, visit us in the heart of the Old Port, downtown Portland.

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Late Reading With Conan O’Brien

“Late Night with Conan O’Brien” is interested in obtaining a subscription to your magazine for our producers. If this is possible could you please contact me at the address listed below.

I have enjoyed reading your publication and eagerly wait your response!

Victoria Varela NBC/Late Night with Conan

26 Milk Street Portland, Maine 04101 207 - 774 - 8994

Continued on page 7

October • Portland Monthly Magazine • 5

h

11 11 N I 11

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"TWO TttlJMM UP!"

Yes! Enclosed is my check. Please send a holiday gift subscription to...

Name Street _ City_ State, Zip _

Mail to: Subscriptions, Portland Magazine, 578 Congress Street, Portland, Maine 04101

Stroudwater Studio Of American Impressionist Walter Griffin,” September 1994, by Colin Sargent).

(As Barbara is a Portland native and Walter Griffin’s grand niece), we are highly pleased with your project. It is beautifully written.

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October • Portland Monthly Magazine • 7

PORTLAND ■

MAINE'S

CITY

MAGAZINES

Yes! I'd like to subscribe! □ For one year @ $20®/$26® abroad □ For two years @$32®/$38® abroad □ For three years @ $40® / $46® abroad My Name_ Street Address City_ State_

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PORTLAND ■ MAINE'S CITY M A G A Z I N E ■

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Bonne;

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• 24-hour/7 da\ • Certified Perst Independently and operated • In-depth scree techniques Competitive re

For one year @ $20°°/ $26® abroad For two years @ $32® / $38® abroad For three years @ $40®/ $46® abroad

My Name_ Street Address City_ State_

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Mall To: Subscriptions, Portland Monthly Magazine 578 Congress Street • Portland, ME 04101

Office locations in Portland and Lewiston ' < 477 Congress Street, Portland, Maine 04101 207-773-3829 • 1-800-429-3829 • FAX 207-773-1864

TEMPORARY & PERMANENT STAFFING

ExecuStaff PROFESSIONAL, TECHNICAL |

& EXECUT|VE RECRU TMENT

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Letters, Continued from page 5

Property Management.

O’Brien 30 Rockefeller Plaza New York

Sudbury Subscription

Greetings from Sudbury, MA! Although I’ve enjoyed reading Portland Magazine many times in the past, I found this year’s July/August issue especially interesting. 1 grew up in Portland and my parents, Ida and John Neal,

live on Munjoy Hill (Beckett Street) in Portland. You’ve probably guessed by now that the article that caught my attention first was the one about my father’s namesake, “John Neal, The Man Who Knew Everything Else,” by William David Barry. 1 found the article not only interesting, but also quite amusing at times. I also enjoyed the write-up on “Ships for Liberty.” In fact, everything about the whole magazine pleased me, so I’m enclosing a $20 check for a year’s subscription.

I wish you all the continued success of this wonderful and informative magazine.

Veleria Neal Connor Sudbury, MA

Walter Griffin

Barbara and 1 again express our thanks for a wonderful article in Portland Magazine (“Inside The Stroudwater Studio Of American Impressionist Walter Griffin,” September 1994, by Colin Sargent).

(As Barbara is a Portland native and Walter Griffin’s grand niece), we are highly pleased with your project. It is beautifully written.

Doctors' Park at 19 West Street Medical HuHding. Portland Working with Neill, Welch Associates, you deal directly with the owners & receive their personal guarantee of quality service. With a selective approach to property management and over 20 years of experience in the industry, we represent several of the finest properties in Maine.

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October • Portland Monthly Magazine • 7

Back Bay Tower now offers fully furnished corporate apartments completely equipped for convenient and comfortable living for the business person preferring a home environment versus a hotel setting.

IM Mw tofB pa na Back Bay Tower is Portland's finest M war address offering great views, superb ■MM toMRjttJto m w w to tototo intown location in the heart of the business district, Portland’s finest ]□ dining and cultural offerings.

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PORTLAND ■ Maine's City Magazines Established 1985 Volume: IX. Number VII, October

Colin Sargent Founding Editor A Publisher

Nancy Sargent Art Director

Cheryl Casey Publisher's Assistant

Laura Catlin Advertising

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The Right People.

Right Now. TEMPORARY AND PERMANENT STAFFING CLERICAL & ADMINISTRATIVE SUPPORT LIGHT INDUSTRIAL TECHNICAL

Portland Magazine is published by Sargent Publishing. Inc., 57X Congress Street. Portland.

ME 04101. All correspondence should be addressed to 57X Coneress Street. Portland. ME 04101.

Advertising Office: 57X Congress Street, Portland. ME 04101 (207) 775-4339.

Billing Quest ions: If you have questions regarding advertising invoicing and payments, call Chervl Casey at 775-4339.

Newsstand Cover Date: October 1994. published September 1994. Vol. 9, No. 7. copyright 1994 Portland Magazine is mailed at third-class mail rates in Portland. ME 04 101 (ISSN: 0XX7-5340).

Opinions expressed in articles are those of authors and do not represent editorial portions of Portland Magazine. Responsible only for that portion of any advertisement which is printed incorrectly, and as compensation we will run a correction in the following issue. Nothing in this issue may be reprinted in whole or in part without written permission from the publishers. Submissions welcome, but we take no rsponsibilitj for unsolicited materials.

Portland Magazine is published 10 times annually by Sargent Publishing. Inc.. 57X Congress Street. Portland, with newsstand cover dates of Winterguide. February/March. April. May. Summerguide. July/August. September. October.

November, and December.

To Subscribe Complete this form end send check for $20 (1*year), $32 (2 years), or $40 (3 years), plus $6 year if outside U.S., ' to: Subscriptions.. Portland, “Maine's City Magazine," 578 Congress St., Portland. ME 04101.

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8 • Portland Monthly Magazine • October

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I

T LOOKS LIKE A MAD cartoonist’s vision of a desolate, psychedelic planet: technicolor lumps of plastic in every size and shape imaginable — some pitted and cratered like moon rocks, others rough-hewn and jagged, even some that are smoothly faceted — haphazardly poking their way up out of the pile of ordinary rocks and dirt in every shade of the rainbow like some fantastic rock quarry at Disneyland. The effect is as jarringly compelling to passers-by as the garish displays of cheap plastic at Toys ’R’ Us are to young children, and getting close enough to touch these oddities only increases their fascination, for the strange objects are surprisingly lightweight considering their strong resemblance to rocks, and disturbingly sharp-edged for pieces of plastic. Scattered in smaller piles nearby are the remains of giant conch shells nearly half a foot long, their multi-colored mother-of-pearl interiors sparkling in the sunlight and their edges precisely and evenly scalloped as if some giant sea creature with curved incisors had been snacking on them and devoured nearly all of their spiral exteriors, leaving behind only the twisted cores. Both of these otherworldly refuse heaps are located outside a large, five-story wooden building right in downtown Waldoboro, but if you happened to miss the sign out front, you’d probably never guess what the two have in common or realize that you’re examining the waste products of the Waldoboro button factory. That was the scene as it appeared two summers ago, but since the factory closed for good in the fall of 1993, the plastic has been hauled away and incinerated for environmental reasons, although a few small piles of the biodegradable shells still remain. According to former factory chemist and manager Jim Eaton, if the plastic is burned long enough at the right temperature, the resins it’s made from will break down into CO2 and H20 without releasing any harmful chlorine, since the colorful dyes are only a minimal portion of the product.

That may be how you get rid of it, but where did it come from in the

first place? Virginia Jackson, who worked in the factory office for 30 years, explains that the strange lumps of plastic are actually miscellaneous solidified drippings emptied from the buckets that were used to pour pigmented resin mixtures into rotating cylinders that gelled the liquid resins until they were hard enough to be cut into sheets of plastic. A punch press was then used to cut out the button blanks, which were subsequently hardened in a tank of calcium chloride and water solution heated to 250° Fahrenheit.

Afterwards the blanks were pumiced and polished in tumbling machines, then sent to the facing and drilling

Made In Maine.

By Gwen Thompson, Photos By Kevin LeDuc machines to have holes drilled through them and patterns — such as rings or bevelled edges or facets — cut into their faces, followed by a final tumbling and sorting out of defectives. Mrs. Jackson describes a similar process for making shell buttons, except that the shells had to be soaked in sulfuric acid “so that the little critters inside were good and dead” before they were hand-cut using machines with one-hole saws.

The factory building was constructed by the town of Waldoboro in hopes of attracting an industrial buyer, and it was initially used for manufacturing shoes and then pants. By 1920 it was firmly established as a button factory, which it remained, throughout many changes of ownership and name, until it closed. In the early years the workers made military shirt buttons out of shells, but by 1960 conch shells had grown too hard to come by, and the owners

converted completely to plastic, specializing in fancy buttons and shoe buckles. At various times the plant also produced backgammon pieces, poker chips, and plastic rods that would elsewhere be cut into dice.

During its most prosperous period in the late 1950s there were 125 employees working three full shifts, but by the time it closed last fall there was just one shift with only 42 employees staffing seven departments. Similarly, production had declined from over $1 million gross per year in the early 1980s to $750,000 gross per year in 1993.

What led to the factory’s demise?

According to Jim Eaton, successive absentee owners from New York left the factory orphaned in Maine without clear direction as to what kind of button market to pursue (e.g., standard white, specialty, pearl, etc.).

Mrs. Jackson’s daughter, Donna Daniel — who worked for more than 20 years in production, quality control, and plant management — is convinced that in a labor-intensive industry with such a low profit margin there was no way they could compete with the huge factories overseas, where labor is so much cheaper than in Maine: “We could produce a gross of men’s shirt buttons for 70<r wholesale, transportation not included. Importing a gross from the Far East only costs 35t, including shipping.” Periodic buttonless fashion trends were also a problem, causing a drop in demand that lowered button prices worldwide, while heating costs and labor costs in Maine continued to rise. However, the difficulties faced by the Waldoboro plant were not unique to Maine: in the 1950s there were 15-20 button factories in operation in the United States, but by the time the Waldoboro factory shut down there were only seven left.

Several possible new uses for the 100 year-old building have been considered (a woodworking school, a paper processing plant), but so far none of them has come to fruition, even though the factory is in very good shape for its age and has recently had extensive repairs. “I think it would be a darn shame if it were just left to fall apart,” says Mrs. Jack-

October • Portland Monthly Magazine • 11

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magine this: It’s Sunday afternoon and you’ve gone out for a drive along the shores of Pleasant River and Pleasant Bay. As -_l_you meander down West Side Road in Addison, you pass a herd of llamas grazing on a grassy knoll overlooking the water...Wait a minute! Llamas? In Maine? You brake, reverse, and pull over. If you get out of the car to rub your eyes and take a closer look, you won’t be alone — in fact, you’ll probably find yourself standing

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son. “It would be a fine building for any kind of manufacturing or even a mini-mall.” But because the factory is situated right on the Medomak River (the imported shells used to arrive by ship in Waldoboro Harbor), her daughter hopes that the building will be put only to non-chemical use in the future. “We were always very careful about that, because we’ve got people clamming back there for their livelihood,” Mrs. Daniel explains, taking a rather cynical view of the building’s chances for rebirth: “It was there for 50 years and nobody gave a hoot. I don’t know why anyone would be interested in it now.”

But Mr. Eaton emphasizes the void that was left in the community when the factory shut down: “It was the second biggest employer in Waldoboro for a long time, and it provided a stable work source of unskilled or semi-skilled labor. It was a Waldoboro landmark, and now that it’s gone, nothing replaces it, so people have to look elsewhere for that kind of work.” Moreover, Mrs. Jackson regrets losing all the social benefits of a large company with many employees: “When you work with people for so many years they’re just like family. I sure did like working there, and I feel sad that it’s no longer there, because people don’t know what goes into making buttons. It takes one week to make a measly little plastic shirt button, but people think they just pop out like popcorn.”

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October • Portland Monthly Magazine • 13

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14 • Portland Monthly Magazine • October

among half a dozen other people doing exactly the same thing. “We ususally have 30-50 people drive by per day,” remarks Joan Yeaton, who, with her husband Leon, owns and runs the Pleasant Bay Bed and Breakfast Llama Keep. With thirty-five llamas pastured on their 110 acres, that’s more than one spectator per llama.

How did a former school teacher who sold real estate and her husband who worked in insurance wind up raising llamas at a bed and breakfast in Maine? “After our six kids left home, Lee said we could do anything now, and I suggested llamas,” Joan explains. “I’d seen them while I was on a work project in Peru, and I just loved them.” They also thought it would be great to get out of the rat race in Exeter, New Hampshire and do something physical in the country, so they returned to Maine, where their family originated. “Having a large family was good practice for running a bed and breakfast,” Joan remarks.

The Yeatons purchased their original llamas from farms in Montana, Wyoming, Colorado, New York, and Massachusetts, although it is also possible to buy imported llamas from Chile and Bolivia. In the process, they traveled to 50 different llama farms in order to find well-rounded, sturdy, reliable, good-natured llamas like the ones used and revered by the Incas in Peru, whose word for llama means “speechless brother.” “I saw them doing everything there,” Joan comments. “They are known as ‘the truck of the Andes’.”

Now the Yeatons breed their own or breed theirs with others for new bloodlines. A young, gelded male can be sold for $1,000, and breeding animals are worth $2-10,000. “If we had more llamas, maybe 100 or so, we could probably make a living just on llamas,” Joan figures. Their customers are usually on the East Coast, with the most here in Maine, and quite a few in Rhode Island, Connecticut, and New York. They sell or lease their llamas to other breeders and as companion animals or guards for sheep and other herd animals that are subject to coyote predation.

During lambing season, guard llamas

—who have a strong territorial sense as well as very acute eyes and ears — become highly protective of newborn sheep and will spit at any coyotes that try to approach them.

“Coyotes hate to be spit on, just like everybody else,” Joan insists. “It’s a great indignity, even if you’re a coyote.”

The Yeatons also sell llamas to spinners and weavers who use llama fiber and want a ready supply of wool all the time. A llama sheds 6-10 pounds of wool per year, and since there is no lanolin in it, the wool is very soft, non-allergenic, doesn’t itch or shrink, and can be harvested with a brush. Another reason for llama fiber’s popularity is that the light-colored wool can be dyed, while the many different earth tones (rust, gray, silver, charcoal, black, white, cream, brown, and calico) can simply be used as is.

Oddly enough, the llamas are very compatible with the Yeatons’ bed and breakfast. “Since they don’t kick or bite, they make very safe companions for visitors,” Joan attests. “Many of our guests like to brush them and take them for walks or on picnics.”

The gentle llamas will follow on a leash like dogs, and Joan is not alone in being fascinated by the tremendous variety of expressions the animals create with their graceful necks, mobile ears, smiling mouths, and long eyelashes. This feeling of interest is often reciprocated when guests who venture out into the fields to read or relax look up to find themselves being closely contemplated by a curious llama chewing its cud.

Another intriguing aspect of llamas is the way they hum softly to each other as a sign of contentment, to give directions, and to bond with their babies. “You can tell some of them apart by how they hum,” Joan asserts, and adds that because their humming sounds rather like a religious chant and they go down on their knees like camels, llamas are sometimes called “the praying animals.”

But perhaps a better name would be “the low-maintenance animals.”

Since food is so sparse in the Andes, llamas have evolved into very energy-efficient “cafeteria eaters” or

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THE PINE TREE SHOP & BAYVIEW GALLERY October • Portland Monthly Magazine • 15

A. G. A. Correa's TUrk’s Head Jewelry

SPECIAL BULLETIN On 1 July 1994, our new showroom will open in South Bristol, Maine. Bywater the dock and guest mooring are less than five miles up the Damariscotta River from Christmas Cove (2 2/10 miles north of nun #10). By land, Route 129, driveway designated SB60 with identifying mailbox., Monday - Friday 9-5 (closing Labor Day weekend)

Edgecomb Showroom open as usual

....

Handwoven Turk’s Head Jewelry in fourteen or eighteen karat gold Weaving solid gold Turk's Head jewelry dawned on me when I saw my son’s nylon string bracelet of the same design. Perfecting the idea, including drawing our own wire to the necessary specifications, was a long and involved process, and became a success only after a period of refinement. This very old design dates back to illustrations by Leonardo da Vinci, and I have found carvings in many forms, including wood, ivory and stone, but to the best of my knowledge, we were the first to achieve this apparent endless weave in solid gold. All jewelry is individually woven, therefore no two are exactly the same.

Single Strand Ring Two Strand Ring' Three Strand Ring Four Strand Ring

14k

$200. $450. $550. $650.

18k $250. $550. $650; $750.

' 14k

• 18k

$360. $300.

Single Strand Earrings $680. $570.

Two Strand Earrings Three Strand Earrings(not shown) $670. $800.

Turk's Head Tie Bar $745. $895.

Large Turk’s Head Barrette * $1000. $1200.

—

14k

Single Strand Bracelet Two Strand Bracelet Three Strand Bracelet Four Strand Bracelet Five Strand Bracelet Six Strand Bracelet

Please call or writefor our catalogue of more bandwoven Turk's Headj ewelry, including cufflinks, dress studs, brooches, necklaces, diamond constellations and other nauticaljewelry.

18k 18k

$750. $1475. $2010. $2575. $3275. $4100.

$900. $1775. $2425. $3100. $3930. $4920.

To place your order or to request a catalogue, please call (800)341-0788 or write to: A.G.A. Correa, PO Box 401-DE, Wiscasset, Office and Telephone Hours: Monday-Friday 9AM-5PM (Mastercard, VISA, American Express) Showroom: 3240 Cross Point Road, Edgecomb, Maine — |_ .. . ' __ FAX (207)882-9744 ___

(j^p®and AGA® are trademarks of A.G.A. Correa Company * Copyright A.G.A. Correa 1994. All Rights Reserved

browsers, subsisting largely on a diet of hay, grass, and weeds that only needs to be supplemented with grains for nursing mothers and babies. Thus, they are far less expensive than horses to feed and can be kept three or four to an acre with no trouble. In addition, since they only use one spot for a dungpile, llamas are very clean and odorless. They are also easy to transport, because they love to travel and will lie down in the back of a station wagon. The Yeatons give their llamas free access to the barns and pastures, which are enclosed with electric sheep fencing, so they can come in and go out as they please to seek shade or get away from bugs or bad weather. “They don’t mind cold or snow or warm rain, but they hate freezing rain and sleet,” Joan observes. “Maine has a good climate for llamas, but the heat bothers them, so you’d need to shear them if you lived in the south.” Even in Addison the llamas love to go swimming in the summer, and they come running and line up to have their legs sprayed with cool water whenever a hose is in use.

Joan estimates that there are 25-30 owners of more than one llama in Maine and says that other llama breeders are usually very supportive and cooperative with referrals, medical problems, and breeding. Although llamas are somewhat unusual farm animals, the Yeatons have found that most veterinarians are familiar with llamas and eager to work with them. In addition, their neighbors are more than willing to take care of the llamas when the Yeatons go away on vacation. However, according to Joan, “The real beauty of raising llamas is that I love raising livestock I don’t have to kill to make a living, since llamas are more valuable alive than dead in this country.” (In South America, however, llamas are often used for food, and Joan describes their meat as very lean and tasting somewhere in between lamb and beef.) Moreover, since llamas are so intelligent, they are much more personal than other livestock. All 35 of the Yeatons’ llamas have names that they learned by the time they were six or eight months old. However, this makes it all the more sad

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when a llama dies after being a part of Pleasant Bay life for 15 to 25 years.

“That’s the hardest part,” concedes Joan, who doesn’t seem to find fault with any other aspect of raising llamas, which may be why she predicts with such confidence, “I think I’ll stick with llamas till I drop.”

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more remarkable: the existence of a 50-acre farm in the heart of Freeport or the fact that inside __l_the barn is the workshop of one of only three or four people in the whole country who earn their livelihoods by building wooden-frame pianos. “Somewhere along the way there’s an unavoidable genetic component,” suggests Rod Regier, the shop’s proprietor, and an amateur pianist since age seven. “All my family members who aren’t musicians do woodworking.” Regier, who tried unsuccessfully to escape his destiny by studying water resources engineering in college, has found his scientific training useful mostly for fixing the plumbing in his early 19thcentury farmhouse, which he describes as “a 10-year fix-up project now in its 15th year.” He was also able to put it to use by working parttime in oceanography at Johns Hopkins in order to capitalize his fortepiano shop when he first started out in Baltimore in the 1970s. “I had my mid-life crisis at twenty-five,” he says of his somewhat difficult decision to give up oceanography in favor of fortepianos.

Although fortepianos make up about 75-80 percent of his shop’s present output, his work actually encompasses a 200-year range of keyboard instruments, from early 17thcentury harpsichords to early 19thcentury pianos, all with wooden frames. (Modern piano frames are made of cast iron.) “I specifically don’t own a wrench with which 1 can tune a modern piano,” he boasts.

“We pay a piano tuner to come and tune Shirley’s Steinway.” Shirley

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Mathews, Rod’s wife, is a keyboardist who specializes in music from the late 18th century, when the harpsichord and fortepiano briefly co-existed. During this transitional period, keyboard composers were essentially inventing performance and composition techniques for the newer instrument. “Many people don’t realize that Beethoven knew only wooden-frame pianos,” Regier is quick to point out. “The modern piano didn’t exist until the late 19th century at the end of Brahms’s and Liszt’s lives.”

But what exactly is the difference between a fortepiano and a pianoforte? To begin with, a fortepiano uses 400 pounds of structural wood to maintain five tons of case tension on its strings. On a modern piano the strings are held taut by a cast-iron frame and steel tuning pins. In addition, while modern pianos have 88 keys, early fortepianos (from before 1800) have no more than 63 notes and later ones (after 1800) have only 78. Furthermore, where modern pianos have three foot pedals in the center, fortepianos may have instead either hand-drawn stops, knee levers, or foot pedals located on the sides near the legs. The tone and touch of a fortepiano are also quite different, falling somewhere between a modern piano and a harpsichord.

So how does one figure out how to build a new fortepiano? By studying an old one, of course! Regier learned his trade working in harpsichord shops in Cambridge, Massachusetts and Kent, England, where he had ample opportunity to study and play 175-year-old instruments every evening after work. Now he and Shirley take periodic pleasurable business trips in order to study antique instruments scattered around the world in museums and private collections.

“We spend a couple of days upside down on our backs tearing the instrument apart,” Regier explains. “Then to get a feel for how it sounds we need a piece of music that's easy enough to play on auto-pilot, so we can pay attention to our ears rather than our fingers.”

Back in the barn in Freeport, armed with hundreds of photographs and measurements and guided by his acoustic memory, Rod is ready to

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22 • Portland Monthly Magazine • October

begin work with Dale Boyce, who has been assisting him full-time with woodworking since last fall. Scattered among the heavy machinery in the shop are various components of several instruments concurrently under construction: a keyboard complete with action, some beautifully finished decorative side panels, and a number of rougher-looking internal structural pieces. In order to support the 10,000 pounds of case pressure, the frame must be made out of a very strong hardwood such as white ash or oak. The wood for the soundboard — like that which is used for organ pipes and the bridges on string instruments — is a special kind of slowgrown, quarter-sawn spruce that is usually imported from Germany or Switzerland, where the trees are dedicated for musical instruments from the moment they’re cut. Sometimes the wood for the outside veneers (frequently mahogany, black walnut, or cherry) is even more difficult to acquire: Rod once waited a year and a half for an unusually large piece of black walnut to be sent from a lumberyard in Indiana. “It was one of the most expensive things I’ve ever bought, besides a car or a house,” he remarks. At the other extreme, he once found a fancy cherry burl in a load of firewood.

Although Regier needs to import his materials (fortunately there’s very little that can’t be U.P.S.ed or air-freighted to Logan Airport), he is usually able to find good workmanship in a number of specialized areas available locally as the need arises.

“One of the really great things about Maine is there’s so much skill in arcane areas,” Rod commments enthusiastically. “It tends not to be advertised, but you find it. You don’t need to go down to New York or Boston to find people who can do specialty things.” For instance, a Freeport jeweller made the bezel for one of his nameplates, and a metal-stamper in Lewiston cut the dies that are used to cast the brass capsules for his fortepianos’ hammers.

Each instrument usually spends at least one full year in the shop, since some aspects of construction go better in the winter when it's less humid, while others work better in the sum-

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mer when there’s fresh air. At the moment, however, there’s at least a three-year wait for a new instrument.

For although Regier’s business has grown relatively slowly, he’s done nothing but make musical instruments since 1979, and he’s built nothing on speculation since 1980. So far all of his customers for new instruments have been from out-of-state, except for a recent order from a local college that will be completed in two years. How do you convince someone to buy a $15-830,000 harpsichord or a $20-$30,000 fortepiano? Very simple: you don’t. Regier insists that his most valuable advertising occurs whenever one of his instruments is used for a recording or a performance, because it’s always part of the contract that he be given a credit line. He feels that being cited by performers of the caliber of the Academy of Ancient Music or Anthony Newman on record labels like Harmonia Mundi and Decca lends credibility to whatever printed advertising he puts out. However, he doesn’t bother putting out much, since no serious performer would ever buy an instrument on impulse anyway, and printed advertisements only serve as catalysts to further investigation.

When Rod and Shirley finally moved to Maine after enjoying many summers here, their only requirements were that there be a hardware store, an airport, and some colleges with active music departments nearby. So far Freeport has proved satisfactory in all respects, although Rod does complain about his high telephone bills. Another aggravation was a 10-month struggle with the town

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24 • PORTLAND MONTHLY MAGAZINE • OCTOBER

planning board when he wanted to get a zoning change in order to expand his shop beyond the confines of the barn. “I had to explain my solid waste disposal procedures to them in a formal review process,” he grins.

“Basically, the wood chips go into the garden and the scrap wood goes into the stove to heat the shop.” In his free time Rod likes to play in the woods, prune pine trees, and read an enormous amount. He also takes advantage of Maine’s many opportunities for snowshoeing and canoeing, and when asked if he plans to stay put in Freeport, he replies, “I can’t move now — I just bought a piece of equipment that weighs a ton!”

Besides, living in a small town does have its advantages: “I’ve had things come here addressed to “Piano Man, Freeport,”’ Regier reminisces with great satisfaction.

VEN IN MAINE, the times are a-changing. Salsa has recentHly replaced ketchup as the most popular American _^condiment, and Mexican food is now the fastest growing ethnic cuisine in this country. Ann Tenpenny of Tex’s Tortillas in Portland is well aware of the trend and confident that it bodes well for her business. Still, why would anyone decide to open a tortilla factory in Maine, of all places? That’s about as far away from Mexico as you can get, isn’t it?

Well, not quite — when she was first married, Ann, a native Texan, lived in Alaska. “But I never bought tortillas outside of Texas,” she declares.

“Whenever I went home to Austin, I brought a suitcase full of tortillas from the factory near my family’s house back with me.”

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October • Portland Monthly Magazine • 25

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Two Maine Jewelry Designers: Patricia Daunis-Dunning and Michael Good Story & Photos By Kevin LeDuc

T

he Wall Street Journal recently took note of Patricia Dannis Dunning’s rising international popularity when it mentioned -in an article about outlandish new Japanese home-shopping networks where they sell “everythingFerraris, Nicole Miller Clothing, New York taxi cabs, and my jewelry!”that she was now “being asked

by Japanese buyers to make her 150,000-yen earrings and 180,000-yen brooches in 18-carat gold instead of her usual 14-carat gold, because most Japanese are accustomed to the purer gold.”

Celestial stuff, this, for the one-time

Boston University jewelry design professor who tired after five years of a daily three-hour commute from her home in Brunswick to Boston (“Six-fifteen to 9:15 each morning-I'd have a cup of coffee waiting in traffic on the Tobin Bridge!”) and now heads a staff of 6-8 associate jewelry designers in her studio on an upper floor of a large brick building at 616 Congress Street in Portland, just across the street from the newly restored State Theater.

Mother of a five-year-old son, Sammy, Daunis-Dunning compares the incipient stages of her jewelry design to raising a child: “An idea is much

like having a new child who’s all wonderful and exciting at first; then you live with it for a while and it goes through adolescence. This middle part gets all murky, and you wonder if the design will ever make it through, just like a child, but you stick with it, give it your all, and then the design will come to form and life,” she says, though, like any artist, she admits to a fair number of failures. For every one good design there are nine that didn’t make the grade,” she says. “Sometimes a design can be so beautiful in itself, it’s like writing a wonderful sentence, but you just can’t plug it in anywhere.” So Daunis has a chest of drawers filled with errors, dressers filled with ideas that went nowhere.

Sometimes she can’t see the forest for the trees and just has to put an idea away for a year or two. Then, late at night, after her staff has left her studio, she'll find the quiet moments she needs to turn to something new.

An Auburn native, Daunis, 42, was educated at the Rhode Island School of Design, where she first met her husband of 20 years. Now residing in Brunswick, she commutes to Portland daily, often beating the morning traffic so she can be sure young Sammy arrives at nursery school by 8 a.m. Daunis’s husband of 20 years, William Dunning, “makes it all happen”; he is the business manager.

Daunis checks every design over with him for approval. “He’s the sculptor, so he is very sensitive to three-dimensional design. He won’t let me get away with a half-baked idea.”

Daunis-Dunning’s jewelry designs have been featured in Vogue and Cos-

October • Portland Monthly Magazine • 27

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mopolitan, and recognition for winning competitions such as the 1991 Diamonds Today award and the 1993 J.A. Jewel award have assured hersuccess.

Who does she create the pieces for? “I like to visualize my clients,” she says. “My wholesale clients are independent stores like Cross Jewelry and Edgecomb Pottery” who respond to her catalog business in locations as diverse as “Japan, Vancouver, Bermuda, Mexico, California, Sarasota, New York, and Atlanta.” Unlike major department stores who “don’t have a clear focus on who they are serving,” independents like these know their customers. “They are always thinking about who will wear what sort of a design,” Daunis says.

Daunis’s design technique is so specific to the individual face that she factors in individual facial shapes, sizes, and expressions. “A woman with either a square or heart-shaped face should avoid angular styles such as a V-neck necklace,” she feels.

“Round- faced women are very conscious of this and want to slim down their faces, at least visually. Drops, dangles, and a long-on-the-ear style earring work best for her,” she says.

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Michaei Michael Good, 56, cuts 120 different types of jewelry pieces from sheets 18-carat gold. Necklaces, bracelets, earrings, all are made from single sheets of gold, each taking its form through a unique process called anticlasting. Good explains that there are three basic stages or shapes that can be made from a plane: “It can be flat, a perfect sphere, or anticlastic, which is basically a compound curve.”

Good has taken the idea of anticlasting one step further by creating an open-seamed speculum. This is any shape that takes the form of a hollow, tapered tube; for example, a bird feather. Using a cross peam hammer, he pounds a flat gold cutout into a hollow tubing, putting a compound curve into the sheet by working from edge to center, then shifting side to side until he achieves his hypnotically beautiful curve shapes or forms.

Good began his jewelry career only after spending years in New York City, first studying at the New School For Social Research, then branching into the inner-city slums of the city with his brother to run an alternative educational school. Unable to repair the social ills of the world, he eventually drifted to discover jewelry

making, first as an apprentice in New York City, and then later beginning a partnership with a friend. Good soon realized that the partnership was fixed to fail, so he bought his partner out and moved the business to Aroostook County. Presently employing 12 people, Good works out of a studio located across the street from Libby’s Chevrolet on Route One in Camden.

Although many of his craftsmen choose to begin work around 6 a.m., Good begins his day between 9 and 10. This allows him a spot of time in the late afternoon when he can work alone after his staff has gone. “When I was younger I often liked to work late into the night. But now I work when it is physically convenient.” For Good, creativity has always come easy.

“Inspiration is something that just comes; it is something you have or you don’t have. I don’t think it can be taught. I think it is simply a way of looking at the world,” he says. H

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October • Portland Monthly Magazine • 29

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Made In Maine, Continued from page 25

cided to see if she could make a profit filling what was obviously an empty niche in the market.

After some test-marketing showed her that she’d need to produce the tortillas herself rather than simply import them, she had all the necessary equipment hauled up by flatbed truck from a factory in Texas, since none of it was available in Maine. (In the process of manufacturing tortillas, specialized machines are used to cut the chunks of dough into different-sized doughballs, to flatten the doughballs, and to bake and cool the tortillas, which are then inspected and packaged by humans.) Once production got underway, the next step was to leave free samples and price lists with local restaurants who already had tortillas on their menus.

Before long, what began as a strictly wholesale business with seven customers had expanded into the tortilla supplier for 40 restaurants and 22 retail outlets in the greater Portland area, in addition to a few places outof-state and as far north as Damariscotta.

So what’s the secret of Tex’s success? “Freshness can make or break a tortilla,” Ann stresses. “My tortillas are made fresh daily and delivered locally the day they’re made. We don’t use any preservatives, so they won’t crack or break.” She goes on to explain that Tex’s Tortillas are even “rollability tested" by being wrapped around a rolling pin. “Also, I never let any of my customers buy on credit,” she adds. “No matter how big their account is, they still have to pay upon delivery. That’s why I’m the only person in town who isn’t trying to collect from Dos Locos.”

At the moment Tex’s makes nothing but white flour and whole wheat tortillas of different sizes, and Ann is in no rush to branch out, for fear of losing quality in what she started out with. “We’re working on low-fat and fat-free tortillas right now, because we’ve had a lot of requests for those,” she remarks. “And I’d love to experiment with flavored flour tortillas if I ever get the time — those are really wonderful.” But corn tortillas are at least two years in the future because of the extra four or

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October • Portland Monthly Magazine • 31

rsa _

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32 • Portland Monthly Magazine • October

15

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five steps involved in producing the dough. (For instance, the corn must be soaked in lime to remove the husks and then boiled.) An employee of a large, nationally-distributed tortilla company has predicted that Ann will eventually give up on making corn tortillas from scratch and just buy dry masa flour instead. He also foresees buying out Tex’s Tortillas when it gets bigger. “I don’t think so,” Ann summarily dismisses both propositions.

She says she’s committed to staying in Maine because she believes it’s important for companies to do business in the state they’re in and for people to patronize local businesses in order to support the local economy. Moreover, although she is quick to mention the disadvantages of running a business in Maine (“Electricity here is outrageous, and all of our equipment is electric, except the gas oven. Also, you have to pay $6.50$7.50 an hour in Maine to get good employees who’ll stick with you, but in the Southwest lots of Mexicans are willing to work for minimum wage”), Ann is equally ready to admit that she would have had a much harder time getting started in the Southwest, where the competition is much stiffer because there are so many choices.

“In Austin alone there are at least eight tortilla factories,” she points out, “but New England is a wide open market for tortillas. There’s no competition whatsoever in Maine, and the nearest tortilla factory to us is in the Boston area.”

Ann is also appreciative of other Maine benefits, despite missing having her family nearby: “I love lobster, and I like the change of seasons and how Maine’s an outdoor kind of state. Portland’s a real livable city, and I like living on the coast after being landlocked in Texas. I won’t retire here, though, because it’s too cold — even Alaska wasn’t that much colder. What I’d really like is to have a house here and another somewhere warm for the winter.” But for now she plans to remain where she is, because — like Goldilocks trying out the three bears’ beds — she discovered that Austin felt too big, Rockland too small, and Portland just right.

■

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Artworks

339 Fore Street Portland, ME 04101

(207) 774-4423 (800) 395-4423 (Maine).

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SPECIAL NOTE FROM THE PUBLISHER This is a Maine book through and, through! The Author. Vance Bcssey resides in Bath. ME PolyVentura Entertainment is based in Portland, ME and publishes comic books and limited edition lithographs as well as morf traditional books. We printed die book on recycled paper Eastern opaque, which came from aMaine paper manufacturer. (Eastern Fine Paper based it Brewer, ME) To top it all off. the book was printed by Little Guy Press in Auburn. ME Everyone involved tn this project loses Maine and it shows! »

Only in Maine Graphic Novel 9.95 ISBN #1-885724-00-4

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■ LISTINGS ■

Robinson, Kriger, McCallum & Greene, P.A. Robinson, Kriger, McCallum & Greene is afull service lawfirm representing clients throughout the state. The firm numbers 16 lawyers, with a support staff of over 25, including paralegals, law clerks and legal assistants. Its members practice in state and federal courts in each of the 16 counties.

T 11 E A T E K Portland Stage Company, Portland Performing Arts Center. 27 Forest Avenue, Portland. Heading up their 1994-95 season Is The Illusion, one of the few comedies written by Pierre Corneille, the 17thcentury master tragedian of the French neo-classical theater. This free adaptation by the Tony Award and Pulitzer Prize-winning playwright Tony Kushner adds an anarchic sense of humor to the revealing tale of a repentant nobleman who seeks the aid of a powerful magician to locate his estranged son, only to discover much more than he bargained for.

Previews are October 23, 25, and 26, after which the play will run from October 27 through November 19.

Box Office: 774-0465.

The firm is trial oriented and engaged in workers' compensation and all forms of civil litigation. Other legal services include family law, estate planning, wills, corporate law, real estate and administrative law before all local, state and federal governmental agencies.

Our offices are located on the Portland Waterfrontat 12-22 Portland Pier. Please call us at 772-6565 for more information or an appointment for a consultation with an attorney.

Robert C. Robinson James S. Kriger John M. McCallum Frederick H. Greene III Frederick C. Moore Sarah Allison Thornton Mark A. Beede Richard F. van Antwerp Elizabeth A. Williams Lawrence B. Goodglass Margaret E. Phair James C. Hunt Gregory R. Smith Thomas Quartararo Jennifer A. Holbrook Elizabeth Connellan Attorneys at Law Twelve Portland Pier Post Office Box 568 Portland, Maine 04112-0568 Facsimile 773-5001

Mad Horse Theatre, 955F Forest Avenue, Portland.

Thanks to over 600 businesses and individuals who helped raise the $75,000 needed by the theater to survive another season. Mad Horse is still alive and kicking off 1994-95 with the modern classic One Flew Over the Cuckoo’s Nest by Dale Wasserman from the novel by Ken Kesey. The famous clash between Randle Patrick McMurphy and Nurse Ratchet will continue through October 16. Box Office: 797-3338.

Oak Street Theatre, 92 Oak Street, Portland.

Following successful engagements in Waterville and Belfast, the In Spite of Life Players are now preparing for the Portland debut of Anna Freeman's play Generic Women, which dramatizes some of the changes women underwent from the 70s Into the 90s in terms of their relationships with men (October 13-15; tickets $10). Closer to home, jazz guitarist Vai Mollineaux from Munjoy Hill will give a lecture and slide show on Duke Ellington at 2 p.m. on October 16 (tickets $6). Later on, Missouri comes to Maine via Richard Cary’s one-man show "And Now Mark Twain," In which Cary brings the great American humorist to life by impersonating him reading from his writings (October 20-23; tickets $10). Then the sky’s the limit at “The Aero Show." when Stanley Allen Sherman — a virtuoso paperairplane maker and New Vaudeville clown from New York City — takes on all four branches of the Armed Service at 8 p.m. October 27-29 and at 2 p.m.

October 30; tickets $ 10. Call 775-5103.

Portland Players, 420 Cottage Road, South Portland, will be hosting “Death Drop." their second annual audience participation murder mystery, at 8 p.m. on Saturday, October 29. Come In costume to the “Gum Drop Ball" for an early Halloween celebration and try to figure out who killed Drury Droppelmeyer. the Gum Drop King. The evening will include refreshments for all and prizes for the best detective.

Tickets are $10 in advance and $13 at the door. Call 799-7337.

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State Theatre, 609 Congress Street. Portland. This month the State is offering audiences country, comedy, and social commentary. On Thursday, October 13 at 8 p.m. tune into Joan Kennedy opening for John Anderson, then on Friday. October 14 at 8 p.m. laugh with Sinbad the comedian, star of the TV show “A Different World." And on Friday, October 21 at 8 p.m. Eric Bogosian of “Talk Radio" will hopefully survive his brilliant one-man production entitled "Pounding Nails into the Floor

226 Anderson Street Portland, Maine 04101 (207) 774-5594 • 1-800-234-5594 Fax (207) 761-2073 October • Portland Monthly Magazine • 35

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PORTLAND SYMPHONY ORCHESTRA.

Make them feel bad.

Adult Children of Relentless Parents.

Make them feel

[PSO-ACORP]

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Call for our free 94-95 season brochure and our new FREQUENT Buyer Discount Card, a great way to hear more, spend less.

Name

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Address City/State/Zip

Portland Symphony Orchestra Toshiyuki Shimada, music director & conductor

.

775-8111 • FGX 773-G081 • Fr™ Uk l-BOO-GMOI

.

donated by Long Distance North

Send to PSO, P.O. Box 3573, Portland ME 04104-3573, call us or stop and see us at 30 Myrtle St., Portland.

■ LISTINGS ■ with My Forehead." Call 773-5540 for tickets.

Cumberland County Civic Center, 1 Civic Center Square. Portland. A wicked witch, a handsome prince, lots of cute little animals, and seven dwarves — what child could ask for anything more when Walt Disney’s World on Ice brings Snow White to life? Show times are 7 p.m. October 12-14; 11 ;30 a.m., 3:30 p.m.. and 7:30 p.m. October 15; and 1 p.m. and 4:30 p.m. October 16. Unfortunately for basketball fans, the Boston Celtics vs. the Minnesota Timberwolves game at 7:30 p.m. on Monday.

October 17 Is already sold out, but for those who prefer Ice hockey, the Portland Pirates will be playing Worcester at 7:30 p.m. on October 21, Springfield at 7 p.m. on November 2, and Providence at 7:30 p.m. on November 5 and at 4 p.m. on November 6. For tickets call 775-3458.

M I' S I C

Portland Symphony Orchestra, 30 Myrtle Street, Portland. Puttin’ On the Ritz, a four-member vocal/dance ensemble, will join the PSO for two pops concerts featuring “The Music of Irving Berlin" at 7:30 p.m. on Saturday, October 15. and at 2:30 p.m. on Sunday. October 16 at City Hall Auditorium.

Highlights will include “Steppin’ Out with My Baby."

"Cheek to Cheek." “Alexander’s Ragtime Band." and "Always." In a more classical vein, trumpeter John Schnell will solo with the Portland Symphony Chamber Orchestra in Haydn’s Trumpet Concerto at 6 p.m. on Saturday. October 29 and at 2 p.m. on Sunday. October 30 at the State Theater. At these two concerts the orchestra will also perform Mozart’s Eine Kleine Nachtmusik, Beethoven’s Symphony No. 2, and Leopold Mozart's Toy Symphony. Moving Into the Romantic period, on Tuesday. November 8 the PSO will play Beethoven's Symphony No. 3 (“Erolca"), Richard Strauss’s Death and Transfiguration, and Honegger’s Pacific 231 at 7:30 p.m. at City Hall with a free concert preview at 6:30. Call 773-8191 or 1-80IF639-2309 for tickets.

Portland Concert Association, 262 Cumberland Avenue. Portland, has gone all-out this fall, offering five major performances In five different musical genres within the space of five weeks. First, at 8 p.m. on Friday, October 14 at City Hall Auditorium, eleven of the jazz world’s greatest performers will celebrate the 40th anniversary of the legendary Newport Jazz Festival. Then at 8 p.m. on Friday.

October 21 you can encounter love, lust, seduction, revenge, comedy, and the stone guest at City Hall, when the San Francisco Western Opera Theater puts on Mozart's Don Giouanni fully staged with orchestra. Next, the violinist Shlomo Mintz will both conduct and solo with the Israel Chamber Orchestra in a program of Mozart. Schubert, Hindemith, and Stravinsky at 7:30 p.m. on Tuesday. October 25 at City Hall Auditorium. On the lighter side. Opera a la Carte will perform Gilbert and Sullivan's most popular comic masterpiece. The Mikado, fully staged with orchestra at City Hall on Wednesday, November 2 at 7:30 p.m. Lastly, the first installment of the PCA's "Great Plano x 3" series will be an encore performance by the Indonesian-born pianist Eduardus Halim at Portland High School Theater on Sunday, November 6 at 3 p.m. To order tickets, call 772-8630 or 1-800-639-2707.

Portland Performing Arts, 25?\ Forest Avenue, Portland. This time around the "Big Sounds from All Over" will cover the two largest ethnic groups here in Maine — the French and the Irish — when leading Interpreters of Irish and Quebecois music collaborate to demonstrate the affinities between these two rich musical traditions. Don’t miss contemporary Irish super-group Patrick Street joining forces with La Bottine Souriante. French Canada’s premiere folk orchestra, at 8 p.m. on Saturday. November 5 at the State Theatre. Tickets cost $16. Call 761-0591.

Friends of the Kotzschmar Organ, 389 Congress Street. Portland, present the municipal organist of Portland’s sister city — Archangel. Russia — in concert on the mighty Kotzschmar at City Hall Continued on page 40

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Monday Thursday Wednesday Monday Wednesday Monday Thursday Friday

October 3 October 6 October 12 October 17 October 19 October 24 October 27 October 28

noon 4:30 p.m.

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4:00 p.m.

3:00 p.m.

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These sessions are facilitated by Jean Kerrigan, assistant director, Advising Services Center. All sessions will be held on the Portland campus.

Please call 780-4663 for more information and to reserve your space!

©University of Southern Maine October • Portland Monthly Magazine • 37

A Portland Dining Guide R E The only Afghan Restaurant in New England is located right in the heart of the Old Port at 88 Exchange Street, where the Habibzai family brings traditional Afghan cuisine to Portland using ingredients such as Basmati rice, lamb, chicken, beef, spinach, eggplant, green beans, and pumpkin. The results — including vegetarian dishes — are delicious but not too spicy, and attract customers from as far away as Boston and Bangor. The Afghan Restaurant has received 31/2 stars out of four and “The Best Ethnic Food" award from Casco Bay Weekly. 773-3431.

Aharn Thai Restaurant, One City Center.

Formerly known as Thai Garden Restaurant, the finest Thai restaurant in Maine is now open under new management with a new reduced-price menu. Specializing in authentic Thai recipes prepared by an experienced chef, Aharn Thai Restaurant is open for dinner seven days a week with a lunch buffet Monday-Friday. Catering, take-out, and free one-hour parking at One City Center Parking Garage are available. Make sure you try their coconut soup! For reservations call 772-1118.

Amigo’s opened in 1973 on Commercial Street and moved to 9 Dana Street ih 1980 after a fire.

They came from the Southwest to open Portland's finest Mexican restaurant in the heart of the Old Port and want to thank you for your support for the past twenty-one years. 772-0772.

Savor fine dining at Cafe Brix, Greater Portland's premier five-star gourmet restaurant featuring classic continental cuisine interpreted with a modern touch. Enjoy elegant presentations in a sophisticated atmosphere. An outstanding wine list is available to complement the menu, with an extensive by-the-glass selection. Full bar.

Reservations suggested: 773-2262. At Cornerbrook, 343 Gorham Road, South Portland.

Carbur's Restaurant offers great food in a casual and relaxed atmosphere. Take some time to enjoy your favorite cocktail or soft drink as you read over the extensive menu with selections ranging from Teriyaki Sirloin or Chicken to Fish'n’Chips to Stuffed Potatoes, not to mention the munchies and salads. If it's a sandwich you seek, you've found the right place: over 70 outrageous “Grandwich” combinations are available. 123 Middle Street, Portland. 772-7794.

David’s Restaurant at the corner of Market and Middle Street in Portland's Old Port boasts a constantly changing, four-star menu of eclectic American cuisine with a French twist. Experience the unique and original chef's creations, divine luncheons, exquisite Sunday brunch, and extensive wine list. Open 11:30-9:30 weekdays and 11:30-10:30 weekends. 164 Middle Street, Portland. 773-4340.

Welcome to F. Parker Reidy's, site of the original

38 • Portland Monthly Magazine • October

Portland Savings Bank built in 1866 at 83 Exchange Street. Established in 1976 during the Renaissance ol the Old Port area, F. Parker Reidy's has become a Portland fine dining tradition, specializing in steaks and fresh seafood, with prime rib featured on weekends. Turn-of-thecentury decor, personalized service, and great food create a warm and congenial atmosphere popular for both business and intimate dining.

773-4731.

Deep in the heart of the mysterious Woodfords area at 540 Forest Avenue is The Great Lost Bear, where you'll find a full bar featuring 50 (that's right, five-o) draught beers, predominantly from local microbreweries. Accompanying them is an enormous menu with everything from soups, salads, and sandwiches to steaks and ribs, as well as a large vegetarian selection and the best nachos and buffalo wings in town. Discover where the natives go when they're restless!

Serving from 11:30 a.m. to 11:30 p.m. seven days a week. 772-0300.

The diner is reborn in the Old Port at Home Plate. 5 Dana Street, Portland. Surrounded on all four sides by a giant wall mural of a Yankees-Red Sox game in the 1940s, families can dine out affordably, business people can take advantage of lunchtime soup and sandwich specials, and those on a late night out can drop in any time from 11 p.m. straight through to 3 p.m. ThursdaySaturday. Of course they serve ballpark food, with lots more besides, including breakfast all day from 5:30 a.m. to 3 p.m. 761-9567.

At the Market Street Grille in the Portland Regency Hotel, spectacular cuisine. Old Port charm, and impeccable service come together in an elegant yet casual environment. Along with daily fresh specials featuring foods from land and sea, the Grille's chef prepares unforgettable feasts like Seafood Fettucine with lobster, shrimp, and mussels; Baked Lobster with seafood stuffing; Steak Diane Tenderloin; and Veal Scaloppini. Visit 31 Market Street for breakfast, lunch and dinner. Reservations accepted. 7744200.

Winner of the Portland Press Herald's “Maine's Best Pizza” People’s Choice Award for four years running, Ricetta’s Brick Oven Pizzeria is truly a taste of the Old Country. M.E. Curly of the PPH raves: “Ricetta’s is arguably the best pizza west of Rome." Dine-in, take-out, or free delivery available; all-you-can-eat gourmet lunch buffet includes pizzas, pastas, soups, and salads. With their newly expanded dining room you won’t have to wait a lifetime for the best meal in town.

Located at 29 Western Avenue, South Portland.

775-7400.

Saigon Thinh Thanh, 608 Congress Street, Portland. 773-2932. Just across Congress Square from the Sonesta Hotel and the Portland

U R A N T S Museum of Art is Maine's-and probably New England’s-finest Vietmanese restaurant! Fourstar, spicy, exotic tastes jump from the delicious fish, pork, shrimp and scallop dishes that include Vegetable Sate Rice Vermicelli, Beancurd with Garlic Rice Vermicelli, Scallops with Snowpeas, & extraordinary curries and specials. 773-2932.

The Snow Squall Restaurant, located at 18 Ocean Street on South Portland's waterfront, serves fresh seafood as well as chicken, veal, and aged western beef. Let the chef challenge your palate with menu offerings such as Herb Ravioli filled with summer greens and served with tomato coulis; Grilled Salmon Fillet with wasabi and pickled ginger; New York Sirloin grilled to order; Smoked Maine Crabcakes served with tropical fruit chutney; and of course Maine Lobster. Serving dinner 7 days a week, lunch Monday-Friday, and Sunday brunch. 799-2232.

Celebrate food at Squire Morgan’s, where you'll find home cooking with a dash of ethnic specialties, fresh seafood, and fish. Situated in the heart of the Old Port in front of the Portland Regency Inn, Squire Morgan's features their famous volcano wings, a wide variety of summer salads, homemade soups, rolls, and fresh roast turkey. 46 Market Street. 774-5246.

Taj Mahal Indian restaurant at 43 Middle Street, Portland serves a wide selection of seafood, chicken, lamb, beef, and vegetarian dishes which can be prepared as mild or as spicy as you like.

Mogul biryanis made with your choice of meat or vegetarian are a specialty, as is their fresh, homemade, chemical-free curry. They're open for lunch 11:30 a.m. - 2:30 p.m., Tuesday-Friday and for dinner 5-10 p.m., Tuesday-Saturday.

Reservations accepted: 773-4498.

Conveniently located at 671 Main Street, South Portland — just minutes from the Maine Mall at the end of Exit 7 of the Maine Turnpike — Tony Roma’s specializes in the best BBQ ribs with their own original sauce, although the grill is always fired up for a full menu of chicken, prime rib, seafood, steaks, salads, and sandwiches as well. Enjoy the casual atmosphere and complete your visit with their famous loaf of onion rings.

Open for breakfast buffet, lunch, and dinner seven days a week. 761-4211, Tortilla Flat has been serving New Englanders fine Mexican food and drink for over 23 years. At 1871 Forest Avenue in Portland you can find favorites like nachos, fajitas, chimichangas, tamales, burritos, tacos, enchiladas, and frozen margaritas seven days a week, as well as seafood, steak, pork, and chicken cooked with a Mexican flair. With lunch specials starting at $2.95, a children's menu, nightly specials, and a Chili Happy Hour, Tortilla Flat is a memorable Mexican experience you can afford any time.

797-8729.

REVIEW

S

halimar of India, located across from Longfellow Square, is the latest addition to Portland’s roster of Indian eateries (including Taj Mahal and Hi Bombay). This very fine restaurant offers a sub-continent-sized menu, the surface of which can only be scratched with one visit. Indian is one of the few millenium-old cuisines that is vegetarian by design rather than necessity, and Shalimar is a good place to explore that fact.

Making dinner choices can be difficult when the menu offerings are plentiful and largely unfamiliar. My system for deciphering and organizing is as follows: biryanis and pullau are rice pilafs of varying complexity; tandoori and kebabs are marinated, unadorned roasted meats and fish; and the rest (curry, masala, vindaloo, and multer) are thick, spicy sauces clinging to meat, fish, or vegetables. Our choices to start with were Vegetable Samosas ($2.50) and Paneer Pakoras ($3.25). The Samosas are deep-fried, pyramid-shaped turnovers stuffed with mashed potatoes and peas. The Paneer Pakoras are deep-fried, chiclet-shaped, matchbox-sized turnovers of fresh cheese coated with chick pea batter.

The cheese had the taste and texture of smooth cottage cheese. Both appetizers had crispy crusts surrounding a comforting and simple filling. The restrained flavors of the appetizers contrasted with the full flavors of the accompanying chutneys; the Tamarind was mild and

fruity, the mint tart, herbs, and onion enrobed in the fires of hell.

The entrees we chose were the Tandoori Mixed Grill ($11.95) and Keema Multer ($8.45). Tandoori refers to the pitcher-shaped oven that is the pride of Shalimar as well as to the food cooked in it, much like barbecue. Included in the mixed grill were Tandoori chicken, fresh, moist, and typically red; very flavorful nubs of tender, highly seasoned ground lamb; roasted shrimp jumping with flavor; cubes of lamb that were a bit too dry; and another piece of chicken that was boned, yellow, and imbued with a yogurty marinade. The Keema multer was a thick stew of ground lamb and peas seasoned with coriander and ginger. It was rich, flavorful, wonderful.

The fresh, just-made flavor and appearance of the entrees and appetizers was unwisely diminished by their being laid upon a bed of petrified pieces of carrot; tired, brown lettuce; and wilted, mangled chunks of cucumber-the only slips in an exemplary meal.

For dessert we had Badami Kulfi ($2.25) and Rasmalai ($1.95). 1 am very fond of Indian desserts; they have an unabashed simplicity that’s a real ascetic contrast to the usual chocolate goo-fests we associate with wrapping up a meal. The Rasmalai was a light, creamy, sweet syrup containing curds of fresh cheese. Badami Kulfi is an Indian import, a barely sweet saffron ice cream served here on a plastic stick, as I’m sure it is on the streets of Bombay. It’s exotic, but possibly a shade too subtle.

A list of beers, Indian included, plus a short, inexpensive wine list and a few uncommon beverages such as Lassi, sweet or salty yogurt shakes, and mango juice round out the experience nicely.

Overall, it’s a treat of a meal and a restaurant. Definitely on the short list for follow-up visits. H -Mark Mickalide

October • Portland Monthly Magazine • 39

Ralph Lauren • Joan Vass • Carole Little • J Crew

■ LISTINGS ■ Continued from page 37 Auditorium on Tuesday, October 18 at 7:30 p.m. $4 suggested donation at the door. 774-3427.

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Gorham. As part of the Music Department's Faculty Concert Series, PSO concertmaster Lawrence Golan and pianist Martin Perry will give a joint recital on Friday, October 21 at 8 p.m. in Corthell Concert Hall.

The program will feature sonatas for violin and piano by Mozart and Brahms, as well as solo piano and solo violin selections, including a Fantasia composed and performed by Mr. Golan. Tickets are $8 for the general public and $4 for students, seniors, and USM faculty and staff. 780-5555.

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be a double feature in the Chapel for Homecoming on Saturday, October 22: at 2 p.m. the Chorus will perform excerpts from Rachmaninoffs Liturgy of St. John Chrysostom; then at 3 p.m. the versatile Chamber Choir will sing a moresca by Orlando de Lassus, several contemporary arrangements of spirituals, and a Jimi Hendrix tune. Both concerts are free and open to the public. On Wednesday, November 2 violinist Adele Auriol and pianist Bernard Fauchet will play a concert of music by Beethoven, Mozart, Poulenc, and Ravel at 7:30 p.m. in Kresge Auditorium. The French duo has toured Europe, India, and the Middle East, and is based at the Conservatoire Claude Debussy. Tickets are $10 for the general public. $8 for seniors 65 or over, and free with a Bowdoin ID. 725-3375.

Maine Center for the Arts, University of Maine.

Orono. The season gala on Saturday, October 15 features world-renowned violinist Itzhak Perlman in concert with pianist Samuel Sanders at 8 p.m. in Hutchins Concert Hall. A benefit dinner (menu by Mr. Perlman) and reception are also planned for the evening. To order tickets for any or all of the above, call 581-1755 or 1-800-MCA-TIXX (1-80(^22-8499).

Jonathan’s Upstairs, 2 Bourne Lane, Ogunquit, has a diverse line-up of musical performances scheduled for this fall. On October 14 Northern Lights will provide their listeners with “the finest bluegrass in the region," followed on October 22 by Northeast Winds, a group of roving Irish minstrels.

Then on October 28 jazz saxophonist Greg Abate will perform with the Chuck Chaplin Trio, and on November 5 singer-songwriters Cris Williamson and Tret Fure will demonstrate their special blend of folk and rock'n’roll. Shows start at 9:15, and the doors open for dinner at 7:30. Call 646-4777 for tickets.

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Colin Sargent will be reading from Undertow, his newest book of poetry, on Saturday, October 8, 35:30 p.m. at Gulf of Maine Books, where there will be a publication party. On Friday. October 14, at 7 p.m., he will be reading at Kennebunk Bookport. Of Sargent’s work, Carolyn Chute has said. “In these rich and highly charged poems the reader feels taken to a great height where the self becomes large and Earth small. Poems of fishes, towers, forests, pilots, the sky. the sea. Everything is racing, speeding, falling through distance, time and space, through passion and meditative silence. And yet throughout all, the single voice, the low and ordinary human voice-the father, the child."

Sargent’s second book. Blush, was Pick of the Month. May 1988, In Small Press Review and was published with a grant from the National Endowment for the Arts, as was his first book.

Luftwaffe Snowshoes. 1984. A 1995 Maine Touring Artist sponsored by the Maine Commission for the Arts, he was feature reader at the Writer's Center in Washington. D.C. this past September 25 and at Bookland at Maine Mall Plaza on September 9. as well as at Raffles Cafe in Portland on September 21.

Janwlllem van de Wetering says of Undertow: “GOOD STUFF inspiring-makes one rethink one's own Maine (and other) moments aptly, rhythmically, beautifully." Since 1988, Sargent has researched undertow and rip current case histories across the state to garner information for the book,

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Colin Sargent's poetry is terrific art He can embrace you with warm impressionistic detail and in the next breath, stun you with sloshes of brilliant color. He is unafraid to hand you a collection of priceless portraits: of family, of lovers, of departed fnends. and suddenly set those pictures aflame.

He might come at you with a fistful of fear as in the poems Dark Bag ("How did we get here?") and Cactus ("your sensible life skidded to a crash"). Or carry you into a cramped intenor and somehow hold you there, as in Corvette f ‘swimming on an empty bed"), for your entire youth. He takes anger and despair and futility on a holiday, stirs them into chowder in the poem Coat of Arms. In News he sketches the death of a speeder with a perspective so right you are both over the scene and sinking under the surface of the water—left hanging onto one strange word for dear life.

These poems are the primitive paintings of an American artist, the ones he refused to sell, the wild and personal works that lead us to a new understanding Sargent is bold and ultimately dangerous because he makes you participate; points back to the poem, to creation itself and says. You sow that, didn't you? You were olive just now, right?...And you find yourself saying. Yes. but where am I? Right now.

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October • Portland Monthly Magazine • 41

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November 5). Two doors down at 489 Congress Street, the Wadsworth-Longfellow House, Henry Wadsworth Longfellow’s childhood home, is open 10 a.m.-4 p.m. Tuesday-Sunday lor its 93rd season of guided tours. The $4 admission charge (children under 12 and MHS members are free) includes a guided tour of the house, a film on Longfellow’s career, and entrance to the exhibits at the Maine History Gallery (through October 31). For further information, call 774-1822 or 879-0427.

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October • Portland Monthly Magazine • 43

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searching for "that little dark pull" that is designed to take each poem beyond the shadow line ol everyday experience. He is the founding editor of Portland Magazine and has read his poetry nationwide on PBS. Undertow is available through Coyote Love Press, 597 Sawyer Street, South Portland. ME 04106. for $9.95 plus $1 shipping.

Within Maine please add 60 cents tax. Eor a schedule of upcoming readings, call 775-4339.

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MUSEUMS & GALLERIES Portland Museum of Art, 7 Congress Square, Portland. Selections from the PMA's extensive collection of works by Maine printmaker Peggy Bacon will be on view in the lobby through November 20. Although she is primarily known for her humorous drypoint caricatures of individuals and groups. Bacon also drew cartoons for magazines, wrote and published poems and stories, and illustrated books. Also, for the first time in three years the Hamilton Easter Field Art Foundation Collection will be displayed in its entirety, providing a glimpse of the interconnected worlds of art in New’ York and Maine during the first half of this century.

The exhibit will include fifty-three w’orks by modern masters such as Marsden Hartley and Stuart Davis who were associated with Hamilton Easter Field and the Ogunquit art colony (through January 8. 1995).

Call 775-6148 for museum hours and admission.

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Children’s Museum of Maine, 142 Free Street, Portland. Discover the culture of the Ancient Egyptians by experiencing it firsthand at the Tomb of Queen Mama Fi. where you can get mummified, dress up in ancient garb, try making jewelry and writing hieroglyphics, and watch wall murals being painted (through December 31). On Saturday.

October 29 from 10 a.m. to 7 p.m. and Sunday.

October 30 from 12 to 5 p.m. you can go to a real old-fashioned Halloween party and fund-raiser featuring a haunted Egyptian tomb. Egyptian fortune telling, spooky ghost tales, scarecrow building and pumpkin decorating contests, and a costume parade at 5 p.m. on Saturday. Admission is $5 for nonmembers and free for members. For recorded information call 828-1234.

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Portland. Say one last farewell to summer by learning more about boats and baseball: “A Goodly Vessel: Ships and Shipbuilding on Casco Bay" exhibition displays a wide variety of marine artifacts, including models, nautical instruments, paintings, photographs, and original manuscript materials relating to shipbuilders and their craft (through October 31): and the multi-media "Take Me Out to the Ballgame" exhibit celebrates Maine’s contribution to the game of baseball from the 1860s up to the arrival of the Portland Sea Dogs via vintage uniforms, bats, balls, and gloves: baseball cards: photographs and posters; and videotaped interviews with Maine baseball figures (through November 5). Two doors down at 489 Congress Street, the Wadsworth-Longfellow House. Henry Wadsworth Longfellow's childhood home, is open 10 a.m.-4 p in. Tuesday-Sunday for its 93rd season of guided tours. The $4 admission charge (children under 12 and MHS members are free) includes a guided tour of the house, a film on Longfellow's career, and entrance to the exhibits at the Maine History Gallery (through October 31). For further information, call 774-1822 or 879-0427.

Victoria Society of Maine, 109 Danforth Street.

We buy and sell used equipment.

Portland. Victoria Mansion, built between 1858 and I860, is open to the public for its fifty-first season 10 a.m.-4 p.m. Friday-Saturday and 1-5 p.m. on Sundays through October 16. This historic house museum

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October • Portland Monthly Magazine • 43

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Danforth Gallery, 34 Danforth Street, Portland.

"Photographs in Sequence" is a national photography exhibition juried by Duane Michals, with slide submissions from over 100 photographers nation-wide, from which about a dozen sequences will be selected for display (through October 29).

For more information, call 775-6245.

Maine Maritime Museum, 243 Washington Street.

Bath. A retrospective exhibition of the legendary ship models of John P. Gardner — a long-time resident of Castine who has spent a lifetime working on or near the water — will bring together more than a dozen of Gardner's major works, most of which are privately owned and have never before been publicly displayed. Included will be realistically detailed passenger steamers, cruising and racing sailboats, motor yachts, and pinky schooners (through April 2, 1995). The Nautical Folk Art exhibit Includes outstanding examples of decorative carved wooden nameboards and figureheads, ship models, toy boats, scrimshaw, hooked rugs and floor mats, painted sea chests, shadowboxes, ship-portraits, and sailors’ manuscripts from public and private collections across the state (through October 30). 443-1316.

Farnsworth Art Museum, 19 Elm Street. Rockland, is inaugurating their newly opened NevelsonBerllawsky Gallery for 20th-century art with an exhibition of forty paintings, drawings, prints, and sculptures spanning the long career of Rockland artist Louise Nevelson, Including several early paintings which have never before been publicly shown. Also featured in the exhibit will be a selection of the artist’s personal jewelry, which she created out of found wood with brass or silver overlay (through October 30). 596-6457.

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Maine Mall, 346 Maine Mall Road, South Portland, will be hosting their first annual Fall for the Arts Festival October 16-23. Designed as a fundraiser to benefit non-profit Maine arts organizations such as the Children’s Museum and the Maine State Ballet (among others), the festival will begin with special shopping hours on Sunday. October 16 from 6 to 9:30 p.m., during which time the Mall will only be open to people purchasing tickets to the event. For $5 shoppers can enjoy live entertainment (including a performance by Tim Sample), prize giveaways, and special discounts available only at this time.

Tickets are available from participating arts organizations, who will keep all the proceeds from the tickets they sell. There will also be mid-week appearances by DevonSquare, the Bellamy Jazz Band. Randy Judkins. Don Campbell, and magician Philip Smith. For more Information call 774-0303.

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Portland. In contrast to traditional “youth fairy tales" that tend to portray a very black and white conflict between good and evil, the “adult fairy tales" from around the world that Ron Hager of "Options Unlimited" will discuss at the Swedenborgian Church on Saturday, October 15 explore the gray areas of the human condition in hopes of discovering what happens after you live happily ever after. The workshop will run from 8:30 a.m. until noon; the fee is $20 per person. 828-4643.

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44 • Portland Monthly Magazine • October

Gllsland Farm Environmental Center, Falmouth. On Apple Day (Saturday. October 15. 10 a.m. - 3 p.m.) the whole family can celebrate autumn by pressing and tasting cider, learning about different kinds of apples, exploring the world of the honey bee. entering the apple pie baking contest, or joining in the sanctuary scavenger hunt (admission is free). Other fall program topics include migration (October 16). huskies (October 23). wreath-making (November 5), and Maine owls (November 6). Regular weekend programs at the visitor's center start at 1 p.m. on Saturdays. 2 p.m. on Sundays for $3 per member and $4 per non-member. 781-2330. Bl

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Home description: This modified cape-style home was built in 1942. I here are 3 bedrooms. The 2 upstairs have hardwood floors. 1 full bath downstairs. I he entire downstairs features oak fkx>rs. I he kitchen has a working, clean chimney. I he living room also has a working, clean chimney and fireplace. The laundry/mud nxnn has a washer/drver. /Xn attached solar green house makes mis a wonderfully cosy home.

There is a full basement and a nx)l cellar. Most of the windows have been recently updated w ith thermopane w indow s. There arc storms and screens also. J he rool is 3 vears old. The heal is presently 2 wood stoves burning wtxxi taken from the back wo<xls. and an alternate oil furnace with baseboards. The house is sided with painted clapboards. The electric system is up to date with an average monthly bill of $45. The well is drilled. 40 feet and pumps 15 gal/minule. The septic tank was pumped 2 years ago. The heating system is 10 years old. serviced 4 years ago. There arc 2 oil tanks. 250 gal. each. The house is insulated w ith fiberglass. and the attic is lopped with 10" loose. There are 2 farm barns. The largest. 50’ x 50'. is 2 stones, just had a new ondulin roof. The equipment bam is 60‘ x 34'. I he yearly taxes are $2,5(X).

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North Yarmouth is a small town approx. 20 minutes from

Maine's largest city. Portland. The school system. SAD 51. has two National Schools ot Excellence that are minutes away. Curbside trash pick-up is included in taxes. North Yarmouth has a volunteer fire department. There is a shopping center 5 minutes away, and it is 15 minutes to L.L. Bean. An IS-holc golf course and tennis courts are I 1/2 miles aw av. and it is 10 minutes to the ocean and beaches.

Price: $550,000 For information and a tour of the farm, please call Robert A. Benedict, owner, 30 Walnut Hill Road, North Yarmouth, Maine 04097 • 207-829-3636

October • Portland Monthly Magazine • 45

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26 • Portland Monthly Magazine • October

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New Fiction By G. L. Mina It was a warm October afternoon; the kind of afternoon that lasts forever when you are twelve. The two boys were sitting in the shade of a tree on the bank of a lake. A large brook ran into the lake here.

At this time of year the lake waters were down a little, and the brook bubbled over a sand bar before it disappeared into the lake.

It was a good spot to fish, and the boys were sort of fishing; at least their bobbers floated placidly out there on the mirror of lake. Earlier, they had thrown rocks at the quite visible sand bar, one side of which seemed now to grow like a luminous mountain range under a magnifying glass; it was a very revelatory sand bar.

Stevie was speaking. “Remember I told you about levitation—from where I read about it in my brother’s magazine?"

“Yeah,” replied Tony. “I tried for a long time to raise up off the bed and float up to the ceiling. Once, I thought 1 was getting a little lighter, but maybe I was just dizzy from thinking too hard.”

“It didn’t work for me, either. But let’s try it now. Maybe it would work if we tried it together.”

The boys lay back on the nearly red grass and shut their eyes.

There was a short period of brow furrowing and hand clenching— then they sat back up.

“This isn’t working,” said Tony. “1 guess we don’t have the hang of it yet. Let’s try something else.”

“We could try to move something," said Steve. “That was in the magazine, too.” He indicated a small gray rock on the sandy lake shore below them. “Let’s move that.”

The boys squinted and pointed mightily at the rock, to no avail.

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October • Portland Monthly Magazine • 47

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Morin Brick -P.O. Box 36 •DanviBe, ME 04223 ‘(207) 784-9375 1 11 Lachance Brick • So. Windham Rd. * Gorham, ME 04038 • (207) 839-3301 igE Brooks Brick‘Maple St Extension • Brewer. ME 04412 •(207)989-3318

48 • Portland Monthly Magazine • October

■ FICTION ■ “That rock is no good,” said Tony. “I’m going to try another one. See that kind of flat brownish one over there?” He pointed to a spot on the bank about ten yards to his left. “I’m sure 1 can move it from here.”

“Wow. Go ahead. I want to see this."

Tony pointed and squinted for a moment, then he picked up a stick and threw it at the rock. The stick landed in the sand next to the rock and the rock suddenly sprouted a head and legs and scrambled into the water.

They sat there looking at the lake for a while; then Stevie said, “There was one other thing in that magazine—a story about traveling in time. This guy built a machine and went into the future with it.”

“That would be great. We could see what kind of tests Miss Craig was going to give us. We could go way ahead and see what kind of cars they have in the future.” Tony thought for a moment. “Maybe we could do it without a machine, like the way they said to levitate and move things.”

“You mean, just think about it real hard?”

“Yeah, let’s try it.”

The boys lay back and shut their eyes. The warm afternoon lulled them to sleep.

Tony opened his eyes. He was sitting at a small table with the remains of a meal in front of him.

Across the table was a woman of about forty who looked a lot like his mother, but wasn’t. She was saying, in an exasperated voice, “Asleep at lunch again?”

He glanced around in confusion.

He saw a mirror on the wall reflecting the table. The woman was looking at a lean old grayhaired man sitting across the table from her. The man was staring back at him.

“After lunch I want you to help me clean up the garage,” said the woman. She continued. “Honestly, Pop, 1 don't know what to do with you. Always daydreaming. When are you going to learn that life is not a dream?" ■

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