The Bird Carver’s Daughter (Part 11: Battlefields)

Guest post by Kari Jo Spear, Photographer, Novelist, and Daughter of Bob Spear
This post appeared first in our Spring 2016  issue of
Chip Notes.

Reprinted by permission. Links added by K Talmage, Museum blog editor.

If birds were my father’s first passion, the Civil War was his second. (Family, he pretty much took for granted.) He could fight every battle from memory, including all the skirmishes leading up to it as well as the aftermath, and discuss the finer points of each battle’s contribution to the overall picture and its enduring legacies. He focused on the Vermonters, especially his great-grand-father and hero, Alonzo Spear. Yet he always held Robert E. Lee in the highest regard. For a long time, I could never understand why my peace-loving, crowd-hating, and squeamish father had such a fascination for battlefields. When I asked him, all he would say was, “Well, they’re kind of interesting.”

One day, my father, Gale, and I visited the Hubbardton Battle Field, where Vermont’s only Revolutionary War battle had taken place. None of us had ever been there before. In the visitor center was a diorama depicting the various movements of the troops during the engagement. I remember standing there, feeling baffled. My father silently contemplated the scenario for a few moments and then launched into a full explanation. He waved his hands over the diorama like a conductor, commenting on the initial positions of both sides, the strategic fallbacks, the flanking attempts, and the outcome. (We lost. But we Vermonters achieved our goal of halting the British in their tracks long enough to allow the main American force to get away. See, I was listening.)

Unbeknownst to us, a member of the staff had been listening, too. “You must be a scholar of this aspect of the Revolution,” he said to my father.

My father shook his head. “Not really. But it’s kind of interesting.”

When we got outside, I said, “I thought you’d never been here before.”

“I haven’t. But these battles are really simple compared to the Civil War.” In other words, he’d figured the whole thing out in about a minute.

My father really was a scholar of the Civil War. I don’t think there is any book, article, or movie he hadn’t memorized. About the only reason he’d leave the museum for a vacation was to tour a battlefield. He visited all the major ones, figuring out exactly where Alonzo would have been standing. Poor Gale would often say with a sigh, “We’re off to fight the Civil War again.” So much for tropical vacations.

This year, one of the high school classes where I assist students did an in-depth study of the Civil War. We read, watched documentaries, and listened to speakers. During class reading time, I found myself researching the 2nd Vermont. When I watched the documentaries, I tried to figure out where my great-great grandfather had been standing. (Yes, he was in the thick of things at Gettysburg, one of the heroic Vermonters who had saved the day and perhaps even turned the tide of the war.) I kept reading more and more. It was addictive. And ancestral.

We spent a lot of time focusing on the military genius of Robert E. Lee. And finally, I began to understand why my father had been so fascinated. Like Lee, my father was a man who planned ahead in a logical way, who studied the lay of the land, who had an instinct for the weather, who knew how to use the sunlight to best advantage, and who had an intuitive sense of how much men and horses could take.

General Spear. It would have been … interesting.

One day, as I headed for my next class with my students, I hesitated for a moment. I almost thought I’d heard my father’s voice echoing down the halls. “Forward, march!”


Kari Jo Spear‘s young adult, urban fantasy novels, Under the Willow, and  Silent One, are available at Phoenix Books (in Essex and Burlington, Vermont), and on-line at Amazon and Barnes and Noble

Previous posts in this series:
Part 1: The Early Years
Part 2: The Pre-teen Years (or, Why I’m Not a Carver)
Part 3: Something’s Going On Here
Part 4: The Summer of Pies
Part 5: My Addiction
Part 6: Habitat Shots
Part 7: Growing Up
Part 8: My Dead Arm
Part 9: Remembrance: Tales of My Father
Part 10: Canoe Lessons

 

“In Layers: The Art of the Egg ”: Call to Artists from the Birds of Vermont Museum

Be part of our 2016 eggs-hibition! Do you create? Do you have a thing for birds, science, or conservation? We do too.

The Birds of Vermont Museum seeks art and craft that focus on the beauty, biology, and essence of eggs for our 2016 season Art Exhibit, In Layers: The Art of the Egg. We’re hoping to hatch feelings of passion, delight, commitment, and discovery with this art (watch for additional activities and displays about oology during the season as well).

The show runs from May 1 to October 31 in the Museum’s multi-purpose room, halls, and foyer. Most art will be hung on the walls. We have shelf space for three-dimensional works and some ceiling space if your work is suitable there. Feel free to visit and scope out the options! We are open to all sorts of media and we strive, in choosing works, for a harmonious variety. Continue reading ““In Layers: The Art of the Egg ”: Call to Artists from the Birds of Vermont Museum”

The Bird Carver’s Daughter (Part 10: Canoe Lessons)

Guest post by Kari Jo Spear, Photographer, Novelist, and Daughter of Bob Spear
This post appeared first in our Late Fall 2015  issue of
Chip Notes.

Reprinted by permission.

In one thing, my father and I were always in perfect accord. He may have dragged me kicking and screaming into the world of birding, but I always loved to canoe. From the time I was old enough to reach over the gunwale, I had a paddle in my hands. My first one was a blue plastic badminton racquet attached to a thwart with a string. I paddled my little heart out with it, stirring up white water and getting soaking wet while my father paddled serenely along in the stern. I always wondered why everybody laughed when they saw us coming.

When I was old enough to graduate to a wooden paddle, my father had me sit in the bow. I’d hardly learned the basic strokes when he put me in the stern and took the bow himself.

“Wait, this is where you steer from,” I said.

“Yeah,” he said and demonstrated the J-stroke.

Surprisingly, it was really easy to make the canoe go where I wanted it to, unlike riding a bike, or doing math. My father preferred to hug the shoreline (watching for shorebirds wasn’t enough for him—he wanted to see warblers, too.) I ran him into a few low hanging limbs at first, but he didn’t mind, even when they had spiders (which always seemed to find their way back along the length of the canoe to my bare toes).

Soon he began giving me complex directions like, “Bring us in sideways next to that log. Back up a little. Hold it right there.” It took me a while to notice he wasn’t paddling—he was looking through his binoculars into the trees. Huh.

Once I got really good at steering, he taught me how to paddle without taking the paddle out of the water. “It’s the way the Indians used to do it,” he said. “You don’t make any noise at all. Take a regular stroke and then sort of glide the paddle up ahead of you through the water, angled a little. That’s it.”

My paddle slid through the water like a silent knife, completely eliminating the plunk of the blade breaking the surface and the silvery rain of drops coming off the edge when it swept forward. I imagined Indians sneaking up on their enemies, soundless in the night.

“Works great to get close to a heron,” my father said.

That, too.

The first time I ever paddled solo was on a field trip. There were seven or eight canoes, and we spent the day making our way down Otter Creek. We had spotted a car where we planned to take out. The problem was we couldn’t see the road from the creek. By late afternoon, everyone was tired, hot, hungry, sunburned, bug bitten, sick of sitting, and had to pee (at least, I did). But we couldn’t find the car. A discussion broke out over whether we’d passed it, or if it was still ahead. My father told everybody to rest in the shade, and he’d go on downstream a ways. Since I was paddling with him, that meant me, too. So we kept going. And going. And going.

My father didn’t usually get lost (except in the mall parking lot) and pretty soon he was frowning. At last, he told me to land us on a tiny strip of sand and he’d walk across a field, find the road, and look around for the car that had to be somewhere nearby. I waited about fifteen minutes, and then I heard him shout from a long distance farther down the creek that he’d found the car, and to save time, I should paddle back and get the others.

I yelled back that I would. And then the canoe got a whole lot bigger and heavier and kind of scary. He’d told me the best place to paddle solo was kneeling in the center   with the boat facing the other way around, going stern first. That kept the canoe level. So I climbed into the center and knelt down, resting my butt on the edge of a thwart, and pushed off. I felt like I was paddling through molasses, until I remembered I was going against the current. Not to mention I was dead tired. But I was used to being the only one paddling a good deal of the time while he was birding, so soon I had some momentum going. I kept close to shore, and after a while, my heart rate settled back down.

At long last, the other canoes came into sight, nosed into shore where a collection of people who looked like they were shipwreck survivors were collapsed in the shade. They saw me coming, and someone shouted, “Oh my God, where’s your father?” They were jumping up like they thought he’d fallen overboard and had been eaten by a giant snapping turtle just because I was a kid paddling alone.

I yelled back, “He walked  He says keep coming.”

As they piled back into their canoes, someone asked if I wanted a bow paddler. I shook my head, turned the canoe on a dime, and started paddling Indian style back downstream.

I had this—no problem.

 

Kari Jo Spear‘s young adult, urban fantasy novels, Under the Willow, and  Silent One, are available at Phoenix Books (in Essex and Burlington, Vermont), and on-line at Amazon and Barnes and Noble

Previous posts in this series:
Part 1: The Early Years
Part 2: The Pre-teen Years (or, Why I’m Not a Carver)
Part 3: Something’s Going On Here
Part 4: The Summer of Pies
Part 5: My Addiction
Part 6: Habitat Shots
Part 7: Growing Up
Part 8: My Dead Arm
Part 9: Remembrance: Tales of My Father

 

Season’s Tweetings

Season's Tweetings from the Birds of Vermont Museum 2015
Season’s Tweetings from the Birds of Vermont Museum

Art of Birds, clockwise from upper left: needle-felted Owls (Susi Ryan’s class); Flood Birds (carved by David Tuttle from trees washed out during the 2013 flood); Eagle quilt (Carol McDowell for the Birds of a Fiber exhibit); Northern Parula (wood carving by Bob Spear); Scarlet Tanager ornaments (carved by Dick Allen and painted by Kir Talmage); Wren (carving by Elizabeth Spinney)

The Art and Artists of “Birds of A Fiber” (2015 Community Art Exhibit)

In selecting art for the Birds of a Fiber exhibit, we hoped to allow the variety of media to hint at the diversity of birds. We had hooked rugs and traditional penny rugs, photographs rendered in cross-stitch, crocheted and fabric sculptures, needle felted miniatures, multimedia collages, paper sculpture, and quilts.

We hope you had a chance to see some of these works for yourself! There is not enough room to show all the works here in our mini slideshow. However, all the artists are listed below.

  • Ann Wetzel, penny rug
  • Carol McDowell, quilted art
  • Dawn Littlepage, textile collage
  • Elizabeth Spinney, crochet
  • Erin Talmage, recycled paper
  • Eve Gagne, cross stitch
  • Kir Talmage, needle felted wool
  • Marya Lowe, quilted art
  • Morgan Barnes, needle felted wool
  • Robin Hadden, rug hooking
  • Katherine Guttman, mixed media (fiber, glass, and metal)
  • Nancy Tomczak, mixed media (fiber and watercolor)
  • Girl Quest participants, fiber birds/mixed media

 

The Bird Carver’s Daughter (Part 9: Remembrance: Tales of my Father)

Guest post by Kari Jo Spear, Photographer, Novelist, and Daughter of Bob Spear
This post appeared first in our Winter 2015  issue of
Chip Notes.

In place of a regular Carver’s Daughter installment, I want to offer a few tidbits of information about my father that most people probably don’t know. Bear in mind that these are family stories and may have
been embellished through the years. (But not by me, of course!)

Our name shouldn’t be Spear. My great-grandmother, Julia Spear, eloped with a man from Canada named Ovitt, and disappeared for an entire year. One day she reappeared on her parents’ doorstep with a newborn baby and moved back in, simply saying that she was divorced. She took back the name Spear for herself and her baby, who was my grandfather, the first Robert Newell Spear.

My father did not grow up in Vermont, though he was born here. He was raised until he was about sixteen in Wyben, Massachusetts, where his family moved so that his mother could continue teaching after she got married. Vermont then had a law that only single women could teach school.

My father was kidnapped when he was a baby. One day his mother was sitting on a train platform, with my father in a basket at her feet. A woman passing by suddenly snatched him, basket and all, and raced off into the crowd. His mother tore after them, screaming. Fortunately, some people farther down the platform were able to stop the woman. The woman was, as they said back then, “mentally deranged,” and had stolen my father because he was such a cute baby. He slept through the entire experience.

My grandmother was my father’s early teacher, in a one-room schoolhouse. After her death, my grandfather moved to Colchester with his son and daughter. My father became friends with Charles Smith, and the two boys explored Lake Champlain together. Their role model was Yan, the hero of Ernest Thompson Seton’s Two Little Savages, a popular boy’s book of the time. They pitched a tent halfway between their houses and slept in it all summer. They were avid skaters in the winter and built their own iceboat, which, my father said, “went like a bat out of hell.” I’m sure they had no safety equipment.

One winter a Model T broke through the lake ice and sank near their fishing shanty. A man struggled to the surface, and the boys shoved their sled out to him. He grabbed on and they pulled him to safety—but he had a heart attack and died before they could get him into the warmth of their shanty. My father made me promise never to ride in a car on the ice. I never will.

My father claimed to have paddled the first canoe on Malletts Bay since the Indians left. It was made of black canvas stretched over a wooden frame. It weighed about a thousand pounds when dry and twice that wet, and he claimed it was the best paddling canoe he ever had. Drivers on Lakeshore Drive used to stop and stare at him in his funny boat with points at both ends.

As a young man, my father frequented a roller-skating rink at Clarey’s Bayside in Colchester. Years later, when Gale accepted an invitation to a roller-skating party for herself and my father, she was afraid he
would be in for a miserable afternoon. But when she looked up from lacing her skates, my father was already on the floor, weaving in and out between people, skating backward on one foot. With a huge grin on his face, of course.

My father had a horse named Ned. He also had a cat he loved dearly, so much that after it died, he vowed he would never have another pet. He never did. (Though he was known to cuddle Gale’s cat Hussy quite a bit.)

He built himself a darkroom, learned taxidermy and astronomy from books, made two guitars and a mandolin, played them all, and could cut down a tree with an ax, dropping it exactly where he wanted it every time.

My father as a boy smoked everything he could get hold of. When cigarettes were too expensive, he smoked corn silk, which was all right, or rolled-up wild grapevine, which was pretty awful. Perhaps that was what cured him of the smoking habit before he became an adult.

My father was bullied in high school. He was young for his grade, small, shy, and smart, and therefore a target for tough Winooski boys. After he graduated, he vowed he would never set foot in another school as a student, and he pretty much didn’t, aside from a few night classes in math at UVM and his training in the Navy later.

He worked in a sawmill and on the Blakely Farm in Colchester, plowing and haying with a team of horses. He cut ice with a crosscut saw on the lake. He preferred the end on top of the ice when he could get it.

During WWII, he enlisted in the Navy against his father’s wishes. The results of his math tests landed him in Chicago for the duration of the war, putting his creative skills into the desperate need for radar development to detect German U-boats. It wasn’t what he’d hoped for; he wanted to follow in the footsteps of his great-grandfather and hero, Alonzo Spear, who fought in every major battle of the Civil War. But in time, he realized the importance of his work and reflected on the American lives he’d helped to save. Though I’m sure he always regretted that he hadn’t had a chance to take out Hitler with a well-thrown ax.

The need for radar experts on board ships grew desperate, though, by the end of war. My father had just been assigned to a ship in the South Pacific when the United States dropped the atomic bombs. Once, self-righteously, I criticized our country for causing such violence. My father quietly told me that if the United States hadn’t dropped the bombs, I probably would not exist. Neither would the Birds of Vermont Museum. I kept my mouth shut about that afterward.

My father used to have his own Boy Scout troop. He was like a magnet for troubled teenagers. When a parent thanked him from the bottom of her heart for turning her child’s life around, he’d shrug and say, “Well, I just had him help me clear a trail or dig a pond.”

My father almost blew up a man once. When he wanted to create a way down to the lakeshore from the property where he and my mother were building a camp, he got hold of dynamite somehow. He drilled into the ledge, planted the charge, and set it off. Rock rained down into the lake. And a man fishing in a rowboat shot out from behind a small island just offshore. My father said he was all right, but he was madder than a hornet.

My father was married twice before he met Gale—first to a woman named Eileen, then to my mother, Sally Stalker Spear. I am his only child. He wanted to name me Robin, whether I was a boy or a girl. They settled on Karen Joelle, but when he saw me for the first time, he said, “That’s not a Karen Joelle. That’s a Kari Jo.” It stuck. And I was never quite sure what he’d meant. My parents separated when I was ten and later divorced. I only saw my father on weekends or school vacations while he was the director of the Green Mountain Aubudon Nature Center.

My father hunted deer until, as he put it, he grew out of it.

My father voted Republican until, as he put it, he wised up.

He worked as a salesman at Sears for a short time before moving on to a career at General Electric doing further work with radar.

He disliked coffee and alcohol, except for an occasional beer.

He could hardly swim a stroke and hated to get even his big toe wet.

He was a lousy cook. Aside from frying hamburgers, all he ever fixed himself for dinner was a can of Dinty Moore beef stew. And ice cream, of course.

He was so squeamish that he used to leave movies during gory parts. Once when I cut my finger, he had to go sit in the shade while I put on a Band-Aid.

He could mentally fight every battle of the Civil War and tell you where all the Vermont troops had stood in each one. He was also an expert on the American Revolution, which was far simpler and lacking in brilliant generals.

He designed and built a house, a camp, a museum, Gale’s retreat, countless bird blinds, and a bridge that withstood a flood that took out all the ground around it.

He sat through The Nutcracker ballet at least fifteen times, doing grandfather duty. And honestly said he liked it.

He occasionally liked to travel, driving across the country from one National Park to the next, giving all cities a wide berth. He went to the South American tropics several times, but never farther from home than that. I did hear him
say once that he’d like to go to Africa.

He had a unique sense of humor and delivered all his lines as a straight, deadpan part of his normal conversation. To a group of volunteers he was training to work in the nature center’s sugar orchard, I heard him say, “Audubon only allows us to run over three kids with the tractor per year. Choose them wisely.”

And to a student who pointed to a fat, furry woodchuck under the feeders and asked what it was, he said, “That’s a chipmunk. They lose their stripes when they get that big.”

He never went anywhere without his binoculars, even in an ambulance to the hospital. They see peregrine falcons around there, you know.

I asked him, when I was a child and first grappling with the idea of death, if he would ever die. He told me yes, but not for a long, long time. He was right.

At the end, when we were told he had only months to live, he did things his own way and wrapped everything up in three days. I was with him when he passed. He did it with the least amount of fuss possible, a recording of birdsongs playing quietly in the background. A few days later, Gale and I scattered his ashes at his favorite places around the museum grounds, as he’d requested. Then I sprinkled the rest into the brook, knowing they would wash down through the nature center and eventually into the lake, where he’d once paddled his odd boat with the points at both ends and raced an iceboat into the stars.

And one other thing I know for certain: as a friend said, he will have already added a Labrador Duck and a Passenger Pigeon to his lifelist.

 

Kari Jo Spear‘s young adult, urban fantasy novels, Under the Willow, and  Silent One, are available at Phoenix Books (in Essex and Burlington, Vermont), and on-line at Amazon and Barnes and Noble

Previous posts in this series:
Part 1: The Early Years
Part 2: The Pre-teen Years (or, Why I’m Not a Carver)
Part 3: Something’s Going On Here
Part 4: The Summer of Pies
Part 5: My Addiction
Part 6: Habitat Shots
Part 7: Growing Up
Part 8: My Dead Arm

 

 

“Birds of a Fiber”: Deadline this weekend

Do you create with fibers? Do you have a thing for birds, science, or conservation? We do too and we hope you’ve sent us something for our show!

This is just a last-call/reminder: Deadline is Sunday, March 1.

We are so looking forward to reviewing all the submissions in the next couple of weeks!

Submission details in our Call to Artists post: https://bovm.wordpress.com/2014/11/25/birds-of-a-fiber-call-to-artists-from-the-birds-of-vermont-museum/

Another quick image search for fiber birds

“Birds of a Fiber”: Call to Artists from the Birds of Vermont Museum

Do you create with fibers? Do you have a thing for birds, science, or conservation? We do too. Please consider sharing your artistic and craft skills with us and our visitors!

The Birds of Vermont Museum seeks both art and craft for our 2015 season Art Exhibit, “Birds of a Fiber”. The show runs from May 1 to October 31 in the Museum’s multi-purpose room, halls, and foyer. Art should speak to or about birds and conservation. Our goal is to show a wide yet harmonious variety of work and media.

We seek fiber-based submissions from art trading card size to double-bed quilts, from felting to weaving to collage to…. Most art will be hung on the walls. We have shelf space for three-dimensional works and some ceiling space if your work is suitable there. Feel free to visit and scope out the options.

A few Birds of a Fiber from a google search. Let these inspire!
A few Birds of a Fiber from a google search. Let these inspire

You may submit up to 3 works, by sending not more than three (3) .jpgs showing your work to museum@birdsofvermont.org ; please put “Submission for Birds of a Fiber” in the email subject. If you do not have email, you may send up to three prints to the Museum, attention Birds of a Fiber. Please include your contact information and a description of fibers/media, size, and weight. Entries are due by March 1, 2015.

Museum staff will select pieces by March 21 and will let artists know by email if possible. We are looking to showcase diverse interpretations from both new and returning artists. The Museum asks for permission to reproduce images of the selected works in print and online as part of publicity for the exhibit; if you prefer partial or cropped images for this, or have preferred images, please tell us or supply those.

Selected pieces should arrive at the Museum during the first weeks of April and be ready to hang (if applicable). Artists are responsible for shipping, or drop-off/pick-up. Pick-up should occur by November 30, 2015.

Artists who show their work here are invited to sell originals, prints, and/or cards through us (on consignment). We often arrange artist workshops at the Museum as well.

Please call or email Kir Talmage or Allison Gergely with any questions. We can be reached at 802 434-2167 or museum@birdsofvermont.org. We look forward to seeing your work!