I scanned an aerial image of Grand Pre dykelands from 1955:
and then it occurred to me to rotate the image 90 degrees:
And damme if Glooscap doesn’t put in an appearance, breathing Boot Island into being. YCMTSU, folks.
After a week away, a lot has accumulated in the form of links sent to myself, and collecting them here seems …efficient as a means to be able to find them again:
I also happened upon a piece I wrote in 1993, in the early years (30+ ago) at Washington & Lee:
Mindful that my Word for the Year was Curate, what can I say about how that has gone as we near the cusp of November, with prospects that are at best uncertain and fraught? While I haven’t been systematic about Curating, there have been some interesting developments on the remote edges of the mountains of things-retained, and I want to put some links where I can find them more easily. Thus:
Philosophy of Teaching and Learning ca. 1995
Hollows and other toponymy bits 2000
Sabbatical Fall 2002
Walls in China ca. 2003
Doubtless other toothsome bits will surface. These (mere Ears of the Hippopotamus) remind me of how I was using html to keep track of and summarize projects during the Washington & Lee library years.
The photographic archives are vast and full of surprises. Consider these from a 2022 excavation, and Horton Landing bozos, 1973. Every photograph has a backstory, of course.
There will be more in this vein.
I just got Joe Boyd’s And the Roots of Rhythm Remain, a massive brick (900+pages) of A Journey Through Global Music (the subtitle). The first encounter with the text inspires me to look at my vinyl music holdings more analytically. A few years ago I serially numbered and photographed the covers of 2000+ ‘albums’ (as they used to be called), and began the process of making their content accessible. And a long process it would be to “complete” the project… but an overview of the Vinyl Catalog is at least a start. The subcategories I’ve broken out as separate genres [perhaps too high-flown a term…] are neither systematic nor exhaustive, and are really pretty disorderly, but gotta start somewhere.
The last few months of blog entries have mostly turned into Convivium texts and handwritten conversation on the yellow pads that follow me everywhere. I mean to be more attentive to the blog in future.
How did this happen? The blog is 20 years from first post, and lately my attentions have been aimed at texts for weekly(ish) Convivium. I vow to figure out how to get the blog back into my day-to-day operations. Real soon now.

My Images for Maine Photographers Showcase, 2024
Boothbay Harbor, March 28 – May 3
Lest January escape me, time for a salvage blog post. A lot of my writing energies have gone into texts for Convivium discussions (Solstitial Matters, Word of/for the Year, Navigating the year’s challenges, Gettin’ Above Your Raisin’, or Beyond) and of course onto the ever-growing heap of yellow pads. Various affordances await my attentions (Valoi negative scanner, CZUR book scanner, a digital microscope), each bought with specific projects in mind, and because the technologies were irresistible…), and musical plots continue to hatch, as always. I’m preparing support materials for 5 of my photographs that will be in the Maine Photographers Showcase (opening in April), and navigating the flow of new books that sloshes over the threshold. And there are always new photographic forays. So: More of Same, Piles Higher and Deeper. I intend to use the blog to track such doings more assiduously, aware that the 20th Anniversary of the blog is fast approaching.


(this is just a beginning of a continuing Saga)
Photographs from the past ENCODE messages that may/can resonate across time. In fact, that’s how they work, in a sort of temporal accordion (folded up and hidden until the bellows are tugged open, then producing stored/implied/immanent/nascent SOUND). Above is a photo of my maternal grandparents, whom I have never seen pictures of. It arrived in my life this week (indirectly, from a first cousin once removed whom I’ve never met) and I’ve been working on investigating and unpacking the story it tells, and the Story it is a fragment of evidence within.
I have spent many many happy hours in the company of the Abandoned Ancestors of others, and also in my own trove of family photographs, passed down into my curatorship from earlier generations. The pleasure/game/discipline of reading images, of excavating stories, imputing personality and other characteristics, and connecting up the (sometimes fanciful) dots … is bottomless and basically harmless to anybody now living, or so I tell myself.
The people are: Carl Kikkebusch, Mary Joerndt, Harriet Joerndt Kikkebusch, and William Henry Joerndt.
What can we read from the photo? How would backstory enlarge our reading? Where does this photo fit in the catalog of genres of vernacular photographs and snapshots? [people and cars…]


Walt Whitman would agree that these images contain multitudes —well, any image does, and the viewer’s opportunity is to explore those multitudes, all the better to deepen one’s appreciation for humanity and the vast complexities and complications of people’s lives and relationships.

So how is it that this is the only photograph I’ve ever seen of my mother’s parents, and that that seeing was just a week ago? Short answer: as I understand it, my mother was estranged from her parents from about age 14. I believe this to be rooted in a Joerndt family tragedy in 1908, resulting in the death of 3-year-old Marshall …and the subsequent divorce of the parents, evidently over the mother’s resort to various ‘spiritualisms’ in order to reach Marshall (that may be apocryphal, as may be the possible institutionalization of the mother). There’s much more to this drama, but there’s nobody left who knows.
The effect upon my mother between ages 9 and 14 was enormous and profound: her family “broken” (the term of choice in that era) around her just as she was emerging into personhood. At 14 she was sent to school at Urbana OH. Here’s how she described her state of mind:
I came here here hungry for affection, disturbed about the way I had seen people injure each other, and about as confused as a young girl can get…
Being sent to Urbana was utterly and completely the rescue that she needed:
So we find ourselves in a Swedenborgian world, in which both of my parents grew up (my father in the Boston Society) and lived their lives. Just how the Joerndts came to be in that world is a mystery, but the Humboldt Park Society of the Church of the New Jerusalem is the locus. Rob Lawson suggests
Carl and Henrietta Joerndt [William’s parents] would have been very knowledgable of the New Church German Society as early as the 1850s. The Pastor of this branch of the Chicago Swedenborgians, John Henry Ragatz, was from Switzerland and a contemporary in age with the Joerndts&mdsah;just a few years older than Carl. Ragatz started out as a minister of the Joerndt’s Lutheran Evangelical Church, of which the Joerndts remained members at least up to 1899. When Ragatz started the German New Church in 1854-55, the Joerndts may have had friends who left the Lutheran church to hang out with their Pastor Ragatz and his new-found adoption of Swedenborg’s spiritual offerings. It’s just a guess…
Aunt Harriet and Carl Kikkebusch were married in the Humboldt Park church in 1910, and at one point both my mother and her younger sister Eunice were sent to live with Harriet and Carl. Somebody in the Humboldt Park Society suggested and then managed my mother’s flight to Urbana, but I know none of the details.
Just to relieve the suspense, a few more bits of the story: after the divorce, William married again, one Augusta Knopf, who died in 1926. He then married (wait for it…) …Mary Joerndt in October 1926, in California… and both Harriet and Eunice were living in California in the early 1920s. The Mary Joerndt in the photograph
is physiognomically very similar to my mother when she was about that age.
While my mother was at Urbana, when she was perhaps 16, she had appendicitis and her father (by then a Christian Scientist) refused permission for the operation that would save her life. Alice Sturges, the Housemother, took responsibility and signed in loco parentis. Her father disowned her. Or so goes the story.
And here’s one of Mary Joerndt and Harriet in 1907: the year before Marshall’s death, when Harriet was 16:
This will probably be continued, so stay tuned.
Again a bit of a rescue operation, a page to make accessible various documents buried on oook.info, and to inspire me to update access to musics materials.