Food for Thought

Winter Salads

Eat well — and wild

By Jane Lear

Salad in the cold months can be tricky. The mild, tender lettuces available at any supermarket are all well and good, but most other salad staples — tomatoes are an obvious example — are disappointing out of season.

More important, though, a typical garden-variety salad doesn’t suit the heartier, richer food we crave at this time of year. Serving a plate of nicely dressed hothouse lettuces after braised short ribs or cassoulet, for instance, can seem tacked on and curiously unsatisfying. Dinner guests tend to pick at it and wonder what’s for dessert rather than appreciate the punctuation in the meal, so to speak, and feel revitalized.

For the sort of bracing counterpoint I’m talking about, look to bolder greens such as endive, watercress, arugula, the pale inner leaves of escarole, or springy, spiky frisée. Slivers of sweet, earthy celery root, tangy green apple or aromatic fennel will help matters along.

One of my favorite winter salads always puts me in mind of the Mediterranean — in particular, Provence and Sicily. The recipe stars fresh fennel and any members of the mandarin citrus family, which includes satsumas, tangerines and clementines. The large, relatively new hybrid marketed as “Sumo” (easily recognized by its prominent topknot) has a superb balance of sweetness and acidity, and the fruit segments, which can be neatly slipped out of their ultra-thin membranes, keep their shape on the plate.

Dandelion greens — which have become more readily available — have a clean, sharp flavor that also reminds me of the Mediterranean. That’s where their use in the kitchen was developed, and you can trace the word “dandelion” from the Latin down through the French dent-de-lion, or “lion’s tooth.” This is no big surprise, given the jagged shape of the leaves, but personally I have a fondness for the common French name, pissenlit, which reflects their purported diuretic properties.

Wild dandelion greens have intense flavor, but these days, I prefer them cultivated unless I know that the grass they’ve been plucked from is pesticide-free. Wild or cultivated, they have a great affinity for a hot skillet dressing. It won’t necessarily wilt the greens, but it mellows them and softens their rawness. Toasted nuts give the vinaigrette a suave sweetness.

The evolution of salad from a side dish or separate course into the main focus of a meal has come into its own, and this makes scratching together a nourishing, delicious weeknight supper — one of life’s greatest challenges — just a bit simpler. Two staples that I swear by are lentils and sausage, especially the smoked Polish variety called kielbasa.

Lentils are a great gateway legume. Unlike most dried beans, there’s no need to soak them beforehand, they cook quickly, and slide from homey to haute with aplomb. I suppose you could say they’ve been around the block and know a thing or two: After all, they were there in the beginning — er, Beginning — as the pottage for which Esau gave up his birthright in Genesis 25:34.

Although I’ve never met a lentil I didn’t like, I’m a sucker for the pretty green French ones called lentilles du Puy. Yep, I know they’re more expensive than other lentils varieties, but they’re worth it. Their characteristic flavor — peppery and minerally yet delicate — comes from the good volcanic soil and dry, sunny climate in which they’re grown. And because they contain less starch than other varieties, they exhibit a lovely firm-tender texture when cooked. In fact, if your opinion of lentils was formed by one too many mushy stews at indifferent vegetarian restaurants, then these will be a revelation.

French green lentils are delicious in soup, of course, or scooped into the hollow of a baked winter squash, or tossed with small pasta shells and crumbles of fresh goat cheese. What I do most often, though, is serve them in a bistro-style warm salad with kielbasa. Add some crusty bread, good butter, and a glass or two of red, and life will feel very civilized.

All three of the salads described above are incredibly versatile. As you’ll see in the recipes — think of them more as guidelines — one ingredient can often be switched for another, and as you go along, don’t be afraid to improvise, based on the contents of your refrigerator. Odds are, it will taste wonderful.

Mandarin-Fennel Salad

Serves 4

Add some cress or arugula sprigs if you like; substitute green olives for the black. Ruby-red pomegranate seeds would add sparkle and texture, and parsley leaves, an herbal punch.

1 large fennel bulb, trimmed of its feathery stalk and some fronds reserved

3 mandarins, peeled

1/4 cup brine-cured black olives

Your favorite best-quality extra-virgin
olive oil

Fresh lemon juice

Coarse flaky salt (Maldon adds a wonderful crunch) and freshly ground black pepper

Cut the fennel bulb in half lengthwise and discard the tough outer layer or two to expose the cream-colored heart. Then cut the bulb into very thin slices with a handheld slicer or a very sharp knife. Put them in a salad bowl.

Remove the weblike pith from the peeled mandarins (children love doing this and are very good at it). Separate the segments and, depending on the thickness and tightness of the membranes that enclose each one, remove those or not; it’s entirely up to you. Cut the fruit in half crosswise and add it, along with the olives, to the fennel.

Drizzle the salad with olive oil and lemon juice to taste and gently combine. Scatter with salt and a few chopped fennel fronds. Season with a few grinds of pepper.

Dandelion Salad with Toasted Pine
Nut Vinaigrette

Serves 6

I’ve called for sherry vinegar below, but balsamic or red wine vinegar would be fine. If you don’t have pine nuts, use pecans, hazelnuts or homemade croutons. Dried cranberries or cherries would be a nice embellishment, too.

6 handfuls tender dandelion greens, washed, spun dry, and tough stems removed

3 tablespoons extra-virgin olive oil

2 garlic cloves, finely chopped

3 tablespoons pine nuts

1 tablespoon sherry vinegar, or to taste

Coarse salt and freshly ground pepper

Shaved or very coarsely grated Parmigiano-Reggiano

Tear the greens into generous bite-size pieces and mound them in a large heatproof bowl.

Heat the oil in a small skillet over moderate heat until hot. Add the garlic and pine nuts, cook, stirring them often, until the garlic is golden. Stir in the vinegar, then pour over the greens. Season with salt and pepper and toss to coat. Add the Parm and toss once more. Serve right away.

Warm Lentil Salad with Kielbasa 

Serves 4

This salad, a staff favorite at Gourmet, varies according to my time and inclination. It’s perfectly delicious with nothing more than onion and garlic, or carrot and garlic. As for the kielbasa, feel free to substitute another smoked sausage, country ham, pancetta or lardons — thick-cut strips of bacon sliced into matchsticks and cooked until crisp. Serve it on a bed of watercress or tender leaves of a Boston or Bibb lettuce. If desired, gild the lily by topping each serving with a fried egg.

2 cups French green lentils (lentilles du Puy), picked over and rinsed

6 cups water

1 bay leaf

A couple of sprigs of fresh thyme or, if you can find it, winter savory

Coarse salt and freshly ground pepper

1/2 cup plus 2 tablespoons extra-virgin olive oil, divided

1 cup finely chopped onion

1 cup diced carrot

1 cup diced celery, plus chopped celery leaves for garnish

1 tablespoon finely chopped garlic

1/4 cup redwine or sherry vinegar

1 tablespoon Dijon mustard

1 smoked kielbasa sausage, cut crosswise into 1/4-inch slices

Bring the lentils, water, bay leaf and thyme sprigs to a boil in a 3-quart pot. Reduce the heat and simmer the lentils, covered, until they are almost tender, about 15 minutes. Add 1/2 teaspoon salt and keep simmering until tender but still firm, about another 5 minutes.

Meanwhile, heat 2 tablespoons oil in a large skillet over medium-low heat. Add the onion, carrot, celery and garlic and cook, stirring every so often, until the vegetables are just softened and smell delicious, 8 to 10 minutes.

While the lentils and aromatics are both working, make the vinaigrette: Whisk together the vinegar and mustard in a small bowl and then whisk in the remaining 1/2 cup oil. Season to taste with salt and pepper.

Drain the lentils in a colander, discarding the herbs. Return the lentils to the pot and stir in the vegetables and vinaigrette. Cook over low heat a few minutes until hot, remove from the heat and cover to keep warm. Wipe out the skillet and brown the kielbasa on both sides. Stir into the lentils and garnish with celery leaves.   OH

Jane Lear was the senior articles editor at Gourmet and features director at Martha Stewart Living.

True South

Make a Note of It

A catalog of the oddities of life

By Susan S. Kelly

For a certain kind of writer — OK, this kind of writer — what’s in your Costco cart, and what you do at night to get ready for bed, is invaluable and fascinating. Unfortunately, this sort of ephemera, discussed offhand in a grocery store parking lot, or city park, or next door on the treadmill, or at the office water cooler, tends to get lost, forgotten or ignored while you’re bringing in the trash cans, refilling the copier paper tray, or debating shredded or chunk parm.

So I make a practice of writing everything down, copying it to the computer, printing it out, punching holes in it, and filing it in notebooks under tabs, just like you did in fourth grade. A new year seems like a good time to revisit these collected works, and reconfirms my opinion that people will tell you anything.

What you may classify, in today’s parlance, as oversharing or TMI is pure gold for a writer. You never know when you’ll need an offhand comment like, “My grandchildren all sound like outlaws or whaling ships: Sophie Morgan. Casey Jackson. Wyatt James,” to punch up a scene. Or my friend’s house cleaners, a gay couple that comes while she’s at work, and routinely leaves complaint notes in the fridge saying, “Why don’t you get something decent to eat?” And while we’re on the subject of fridges, there’s my friend who told me she looked so terrible one day that she couldn’t go out in public. Instead, she went to the drive-through window at Krispy Kreme and bought four bottles of milk. Because she remembered that, as a child, Krispy Kreme had the best milk.

It pains me that I will likely never find a place to use this email: “Remind me to tell you the story some time about the husband of our class valedictorian (who herself picked her nose and ate it in class) who came to a hometown funeral and his tooth moved when he talked. I didn’t see it, but it was well reported by another friend.” Still, I’m comforted that, sooner or later, I’ll probably be able to fit in my Charleston friend’s road trip with her history-buff father to visit all the Civil War battlefields. But only the ones that the Confederacy won. So much for revisionist history. And Gettysburg.

Next time you make a move, stay focused on what’s really important and do what one friend did: While everything’s being wrapped, packed and stacked, draw a big smiley face on the box that has all the liquor in it.

Embarrassment tales are a dime a dozen, but here’s one I bet you won’t find in that long-gone “Was My Face Red” page in Reader’s Digest. The day after giving birth, a friend was immensely relieved when the doc came into her hospital room. She opened her gown, showed him her breasts and said, “I am sooo glad you’re here. My milk has come in and they hurt so badly and can you look at them and tell me if they’re normal and give me something for them?” The doctor looked at the floor for a long minute, then said, “I’m the pediatrician.”

But seriously, what is it about underwear? Stories tend from the mild — the friend who stained (OK, steeped) — all her heirloom linens in tea for the perfect antique shade, which was inspired by the memory of her mother boiling her bras when she came home from boarding school, to the lawyer who took off his blazer at work, not realizing a pair of underwear was stuck to the back of his shirt. Let that be a lesson to check your lint traps. Tricot has a natural affinity for non-iron Brooks Brothers shirts.

Underwear-related and completely unedited from the notebook original, this gem of a tail, I mean tale:

I know airport toilets are all about efficiency, but they are over-zealous. The best news is that every toilet I visited had seat covers plentiful, and I visited plenty between RDU, Dallas and Denver. So, I head for the toilet with 90 coats, backpack, luggage. As you disrobe, the toilet flushes because you’re moving. Then, I get the toilet cover assembled, and another auto-flush because you’re moving. Which creates the problem, because you’ve set the cover on the seat and it flushes the cover down, so you have to get another cover assembled. Of course it flushes again as you turn around to take off pants to sit down, but this time you’re holding the cover, but it keeps flushing forever and your cover is fairly mangled, so by that time you are holding it, trying to undo your pants and sit on it while it’s flushing, but still maintain sanitary integrity holding the seat cover and you sit down in a hurry still holding the seat cover that is trying to go down the toilet. It was exhausting and a complete waste of water.

And it’s only January.  OH

Susan Kelly is a blithe spirit, author of several novels, and proud grandmother.

Book Excerpt

In Deep Water

Huck Finn meets Moby Dick in Lee Zacharias’ delightful new novel

For a good wintertime read, lose yourself in the nautical-themed novel, Across the Great Lake by Lee Zacharias prize-winning author, longtime editor of The Greensboro Review and emerita professor at UNCG.

It’s the kind of book that immediately seizes the imagination. Part adventure in the vein of Moby Dick or Huckleberry Finn, part ghost story, part tragedy filled with a motley assortment of characters, Across the Great Lake (University of Wisconsin Press) tells the remarkable odyssey of 5-year-old Fern Halvorsen. Told in first-person by an aging Fern, the book recounts the single most defining experience of her life: a trip in 1936 aboard The Manitou, a freighter ferrying railroad cars across the icy waters of Lake Michigan. Fern’s father is the boat’s captain, who has brought his daughter with him, as her mother lies dying back in their home in Frankfort, on Michigan’s northwest Lower Peninsula (distinct from the state’s Upper Peninsula, or UP, as Fern learns). With no one but her teddy bear, also named Manitou, for company, the plucky child protagonist explores the ship’s nooks and crannies, befriending a gentle deckhand named Alv and fraternizing with the crew along the way. In the following excerpt, young Fern sits in on a poker game among the raucous “black gang” who stoke the coal fires of the boat’s engine room, among other characters — and learns first-hand that The Manitou is haunted.

Like Dick Butler, Nils was an oiler, one step above fireman, but I was confused because I didn’t know what a Yooper did on a ship, and Amund had to explain that he was a water tender, that was his job, but he was also a Yooper because he was from the UP. Supposedly the term is new, but sailors used it even before the Mackinac Bridge was built and the Yoopers started calling everyone who lived below the bridge, on the Lower Peninsula, trolls. Sitting at a table in the flicker playing cards the men called each other a lot of names, though no one seemed to mind. Nils picked me up and set me on his lap even though I was all sooty, but no one in the black gang cared about that, not as long as you washed your hands at one of the sinks along the bulwark between the flicker and the hold before you picked up your cards, because even after they washed up there was coal dust ground into the creases around their eyes and in the back of their necks and their wrists and knuckles. Nils showed me his cards and even let me hold them, making sure I pointed them straight up so no one else could see, and that’s how I learned to play poker. One of his fingernails  was black and sort of bubbled up, but it wasn’t from the coal dust, it was from catching his hand in a hatch. Malley, the other water tender, was at the end of the table playing a sad song on his harmonica instead of cards. That was because his girlfriend wouldn’t marry him, Amund said, she didn’t want to marry a man who was at sea all the time. Nils, Malley, and Amund, all of the men in fact except Bosun and Twitches, would explain a lot of things and tell all kinds of stories as we crossed the lake. They seemed so eager to explain how things worked it was like a contest, who got to tell me most, probably because there wasn’t anyone else to tell what they knew because the other men knew the same things and when they came home the people who hadn’t been to sea didn’t care. Or maybe it was just because I listened so hard. I wanted to learn everything so that I could grow up to work on a ship too.

Amund and Dick Butler each threw another penny in the middle of the table, but Nils took his cards back and laid them facedown. “I’m out.”

“I want to keep playing,” I protested, so Dick explained that when you folded it meant you knew you couldn’t win and if you couldn’t win and you were smart you got out of the game. He said it so nice I wondered if he knew I’d seem him smoking on the car deck. Not that I’d tell. Because that was the second rule on a ship. Though they might quarrel among themselves, sailors didn’t rat each other out.

But one thing no one explained was the shower. It was like I thought it would be, but in the shower you had to turn the faucets just right or else the water was ice cold, and then it was so hot I jumped back and fell, with scalding water pouring down all over my backside. I wanted someone to come, but my father didn’t know I needed help because at home the person who always helped me was my mother. So I had to get up by myself and reach around to the faucets, but finally I found the place that was like a warm summer rain, and after that I cheered up and sang a song because I had heard about singing in the shower. Later I would wonder if the ghost knew about the faucets, because if it did it could have helped me, though I guessed ghosts didn’t care to go around assisting people. What they wanted was some kind of help themselves, but ghosts can’t say what they want, and that’s why people are so afraid of them, though all that was something I thought about later, after I was used to it. That first night I wasn’t used to it at all.

When it came, it was after the rudder pin broke and the engineer began his walk across the ice, after the bowling alley closed and I could no longer hear the crack of the ball and explosions of the pins, and I began to hear the ship speak in a way you don’t hear it in the daytime, maybe because the way you listen in the dark is different. There was still the grinding of ice against the hull, though not as loud because we weren’t trying to push through it anymore. Instead the ship itself was groaning and creaking, moaning and carrying on like it was a ghost, or like you think a ghost might do, but it wasn’t the ghost, it was just the night air making the steel hull contract. A ship is built to flex or else the hull will break apart, so I knew what I heard was the ship and not a ghost, but even so I clutched Manitou tight against my neck and kept my eyes open. The snow had stopped hours before, and the air outside was colder now not just because it was night but because the sky had cleared, and before I went to bed I knelt in one of the hemp chairs in the observation room and saw all the stars like a sky full up with diamonds, the way you only ever see them from the beach on a winter night because up on Leelanau Avenue there were too many trees, and so I tipped my head up and looked until I was dizzy, and then I went back to my cabin and closed the door and got in bed and the ship started making all that night noise.

But even though my eyes were open I never saw the ghost, because no matter what some people say about glimpsing apparitions, figures you can see through or shadows without anyone to cast them, the main thing about ghosts is not what you see. Holgar, who was one of the deckhands, the one who didn’t like Finns and was always taking pictures with his Brownie camera, was forever asking to see the special compartment because he’d heard you could see the ghost’s face in the wood paneling, and he said that sometimes ghosts will show in pictures even when you can’t see them in real life, but the crew wasn’t allowed to hang around the passenger quarters, except Alv, who came and got my clothes and washed them and hung them to dry on the line strung across the flicker, so I don’t know whether this ghost would have showed in a picture or not. Also when the ghost came it was dark. Outside, all around the deckhouse and the aft pilothouse there are lights. On a platform on the forward spar below the crow’s nest, red and green port and starboard lights keep ships from running into each other in the fog or at night, and from the passenger lounge you can see the light that’s kept on all night in the galley, but inside my cabin with the door and shutters closed up tight it was what they call pitch black.

And what happened when it came, it wasn’t the way you would think, because it didn’t make any noise at all, and the way I knew it was there was how quiet the ship got. All of a sudden you couldn’t hear the ice or the flexing steel plates on the hull, all the moaning and groaning and shrieking just stopped. Some ghosts are supposed to weep, and the ghosts of the cholera victims buried alive on South Manitou Island cry out for help, their voices echoing over the water, trying to hail the passing ships. People hear footsteps on the stairs, the thump of an empty chair set to rocking, or the slamming of a door, though the only reason a ghost could have to slam a door would be to get your attention, because they don’t need doors or windows to go from room to room, not that they travel much—they don’t wander the earth like some people say, only a very little part of it where something terrible happened. I didn’t know what happened to the ghost on the Manitou or even who it was, nobody seemed to, only that in the daytime it lived in the special room the managers used when they crossed the lake. I’m not sure the men even knew that it came out at night and moved around the passenger quarters because it never went anywhere else on the ship, not down to the flicker, where the black gang bunked, or up to the pilothouse, not even to the galley or messes nearby, because if it had, the men would have talked about it, but they never did, not even the bosun, and he was not one to keep a ghost to himself.

So that was how I knew it was there, because everything got so quiet, and at the same time I felt it, because you don’t have to see or hear a ghost to know one’s there. You feel it the same way you feel a storm is coming, there’s a change in pressure, a heaviness in the air, you can’t breathe, and what you hear isn’t the ghost but your own blood pounding inside your ears and what you feel is that same blood beating in your throat, but a ghost doesn’t warn you like a storm will, it just comes all of a sudden and then it’s there. And what this ghost did, it reached down and took hold of my big toe. I can’t say whether it lifted the scratchy wool blanket, reached through it, or what, because I couldn’t feel anything but the pressure of its hand on my foot, not the nib of a fingernail or warmth of a palm, because the ghost didn’t have surface, only weight, a heaviness that was not like anything else, and all night long it gripped my toe and never said what it wanted or why it was there, and I wanted to be the girl I bragged I was, but I wasn’t, because that first night when the ghost came into my compartment and clasped my foot in its hand I was so scared I couldn’t even scream, and in the morning when I woke and the ghost was gone, my eyes were all crusty in the corners, and both Manitou and my pillowcase were wet, and I realized that I had cried all night long without ever making so much sound as a sniffle.   OH

Excerpted from Across the Great Lake by Lee Zacharias. Reprinted by permission of the University of Wisconsin Press. ©2018 by the Board of Regents of the University of Wisconsin System. All rights reserved.

Papadaddy’s Mindfield

Give Me That Old-Time Music

The comfort of familiar hymns

By Clyde Edgerton

After New Year’s Eve is a good time to think over the past year — or maybe the past 75, especially if something pops up that gives birth to memories that emerge from behind stacks of present-day urgencies and conflicts.

I’ve recently been looking through the hymn book I grew up with in a Southern Baptist church — the Broadman Hymnal: a staple for many denominations back in the day. My looking through this book gave fresh birth to old memories.

Most people, as children, sang songs. For me, it was religious songs. And many children, because they sing songs written by adults, mess up the meanings of words.

In Sunday School at my church long ago, we children sang “Jesus Wants Me for a Sunbeam.” I always heard and thus sang “Jesus wants me for a sunbean.” In my mind’s eye, a sunbean was shaped like a butter bean (translation: lima bean) and had a silvery, bright sheen. I wasn’t sure why Jesus wanted me to be one. Who was Jesus anyway? I’d not quite figured that out by age 4.

In my church, after Sunday School on a Sunday morning, we kids went into the big people’s church and sat still or squirmed for an hour or so — usually with parents, a parent, or someone else’s parents — while things happened around us, and in the choir, and up in the pulpit. We didn’t get the big picture until about the age 12, when we finally clearly understood the nature of the universe and our place in it.

Early on, well before the age of 12, all the hymns seemed benevolent and kind and good, in spite of my recognizing in those songs images of war — as well as of peace — of fear and hope, of the wild and the tame, the obedient and disobedient. But because of my place in my community and church, because of my beliefs, I felt very safe, unthreatened.

Approaching the teenage years, sitting or standing in the big church, we still didn’t always comprehend clearly. There’s that famous example: the hymn “Gladly the Cross I’d Bear.” As: “Gladly, the Cross-Eyed Bear.”

A song like “Standing on the Promises” was hard for me to grasp. I was unable to sustain a meaning for a participial phrase, “standing on,” along with the abstract noun “promises,” in the same sentence. I visualized “promises” as bridge trusses made of human arms. People in a far-off country stood on them. Therefore, the meaning of the song, though I’d sing the printed words, was mangled.

“When the Roll is Called Up Yonder” brought visions of a bread roll with ears and legs — ambling doglike across a green meadow, having been called: “Come, Fluffy. Come, girl.” I was there watching because the hymn said, “When the roll is called up yonder I’ll be there.”

Then, yo, and verily, verily, we became teenagers.

Teenage friends were allowed to sit together, sometimes all the way back on the back row. We’d play “Between the Sheets.” Teenager A would open the hymnbook to a random page and whisper the hymn title to Teenager B. B would say: “Between the Sheets.”

I’m sitting here with the Broadman Hymnal now, as I write. I’m about to open to some random pages.

“Dare to Be Brave, Dare to Be True” . . . “Onward, Christian Soldiers” . . . “Blow Ye the Trumpet, Blow” . . . “I Surrender All” . . . You get the idea (and probably did before the examples).

Now, as an adult, I enjoy singing the old hymns in church. I haven’t yet been able to enjoy contemporary religious music. I like what I heard as a child. Probably not so much because I did or didn’t understand meanings, but because back then I felt at peace. I felt very safe; meanings about life and the universe were absolutely true. Though my outlook has changed, it’s comforting to sing the old hymns, to reconnect with those feelings of security and peace.  b

Clyde Edgerton is the author of 10 novels, a memoir and most recently, Papadaddy’s Book for New Fathers. He is the Thomas S. Keenan III Distinguished Professor of Creative Writing at UNCW.

The Accidental Astrologer

The Happiness Project

With a little effort, the world’s a better place in 2019

By Astrid Stellanova

Buh-bye, 2018! It’s all in the rearview mirror now, right? Not quite, Star Children. We tripped right on out of trippy December, barreling straight for the yellow brick road of the New Year, but first a check-in question for the New Age: Were you really good for goodness sake or was it to look good in your selfies?

Think about it. In the cosmic sense, all those clicks, likes and dislikes, will be relegated to the basement of history faster than a smiley face. No matter, there are 365 days to get things right or just a little righter. Aim to do something to make this ole world twirl with happiness. — Ad Astra, Astrid

Capricorn (December 22–January 19)

It may have burned your biscuits that you didn’t get something promised to you, and you can blame it on that ole buzzkill buzzard Saturn, who’s been making you toe the line since last year. But take heart, little Goat, because the stars sure do point to a better twist in the tale. Hang onto your shorts, Love Bug. Things are resolving faster than you can say stink on a stick.

Aquarius (January 20–February 18)

New year, new you — which is saying something for Aquarians. You have a new sense of resolve, and Birthday Guys and Gals, I’m picking up what you’re laying down. Don’t let anybody trap you in just old ways of thinking or acting. You know what you want, you have resolved to pursue change, and don’t let your critics get in your head and change your mind. If there’s a bigger birthday wish you’re dreaming of than that one, just pucker up and blow!

Pisces (February 19–March 20)

Well, Honey Bun, you’ve been up since the crack of noon saying you have a whole new brand to build. Who are you kidding? You are not a Kardashian. Honey, you are you — the you that everybody knows and loves doesn’t have to follow trends or trolls to roll with fabulousness.

Aries (March 21–April 19)

Oh, yeah. You want everybody but you to tend to their own knitting, but just look at what a tangled-up skein of yarn you have made. Now get it straightened out and don’t Tom Sawyer one of your many friends into fixing your mess. Word is you have a nice surprise soon after if you take care of business.

Taurus (April 20–May 20)

Stranger danger, Sugar, but only from burnout. It’s too people-y out there to venture forth. Stay in a little more, read a book, snuggle on the sofa and keep your own counsel. You have been struttin’ your stuff day and night; it wouldn’t hurt one iota to spend a night or two being a couch potato with a bag of Cheetos.

Gemini (May 21–June 20)

Make sure your brain is as sharp as your tongue this month, when you get to feeling a little challenged by those near and dear. It is possible you are over-reacting, Honey, or just plain acting for the love of drama. It is a good month for holding back a tee-ninesy bit.

Cancer (June 21–July 22)

You had a hissy fit with a tail on it, and what did it get you? You got to eat a slice of hypocrite pie, because the very thing you got so riled up about is something you have done to yourself. While all this played out, you didn’t notice something worth noting. Open your eyeballs.

Leo (July 23–August 22)

You know horse hockey when you step in it. And you stepped in it. But here we are with a new year, new view and an open path around all the traps you fell into last year. Step high, keep your eyes wide open and watch the horizon. Tall, dark and handsome (or be-yoo-tiful) is heading your way.

Virgo (August 23–September 22)

You felt out of whack. You were stressed. And it was a lot of piddlin’ things keeping you off your game. The things that kept you upside down were not of your own making. Clouds are clearing. Pretend you are already feeling better, Sweet Thing.

Libra (September 23–October 22)

Skedaddle and make sure you leave before you get invited out the door. You were innocent but ignored the signs that a sometimes friend wasn’t so friendly. They take some warming up to, and the heater went cold, so find new friends and move along as if it never even happened.

Scorpio (October 23–November 21)

You have big plans but your own stomping grounds aren’t so bad. Dollywood is fun, but right under your nose there are all kinds of possibilities, Sugar Foot. Many are fond of your wit and wisdom. Don’t let the familiar turn you away or off.

Sagittarius (November 22–December 21)

This year could be a wing dinger, Sugar. It happens to be one of your better ones. You’ve been busy taking up with all kinds of unusual occupations and friends, and that is a good thing. You will broaden your view, and have a whatchamadoodle of a time doing it.  b

For years, Astrid Stellanova owned and operated Curl Up and Dye Beauty
Salon in the boondocks of North Carolina until arthritic fingers and her popular astrological readings provoked a new career path.

To D.I.Y. For

To D.I.Y. For

Betsy Brodeur applies ingenuity to her Sunset Hills home

By Cynthia Adams     Photographs by Amy Freeman

Oh-so-desirable Sunset Hills was developed in the mid-1920s, featuring woodsy green swaths and homes with distinct personalities. According to historians, deed restrictions ensured a “quiet, park-like setting,” requiring that houses be built farther than 45 feet from the street.

Homes here are snapped up quickly by eager buyers, often before a “for sale” sign goes up. When Betsy Brodeur and her husband, Lee, heard the house they’d eyed in Sunset Hills was on the market one February day five years ago, Betsy had to do a look-see. When she did, it was a case of instant, physical attraction.

“The hair on my arms stood up when I first saw it,” she says, recalling stopping for an open house. “When I saw the house, I felt love, and healing.”

As a family, the Brodeurs needed more room for their three daughters, something more spacious and soulful. “We had been looking for so long,” Betsy says. “That same night, somebody broke into our garage and stole all of our lawn equipment.” The urge to move grew more urgent after the burglary. 

When the Brodeurs did a subsequent drive-by, the six-bedroom home with style to spare was already sold. 

They were crestfallen, but they discussed paying off their house in Lindley Park and buying a beach house.

Fortunately, they discovered the sale had fallen through from Melissa Greer, the Realtor who is now their neighbor. They moved swiftly and decisively

There was even a downstairs bedroom and bath, rare in a home of its vintage. Here, the Brodeurs could age in place. 

Almost all of the original footprint of the house was left intact with only one major addition on the rear. They just knew — the ways in which the home wasn’t exactly to their liking were just matters of cosmetics. “It was a spiritual, emotional decision,” says Betsy Brodeur as she stands in the Arts and Craft–style game room, the newest portion of the house overlooking an outdoor kitchen and fountain. 

“We should be downsizing at this point in our life,” Betsy says cheerfully, and chortles. But the couple did the opposite of what their friends were doing in anticipation of retirement. The Brodeurs went bigger. They upsized from that “cute little Lindley Park bungalow” to a 4,500-plus square foot home.

“Lee said, ‘I’m buying the house. But any updates are on you.’” Fine, Betsy thought without hesitation. She immediately thought of her clever mother, who had done far more with far less when it came to fixing up houses, and knew she could handle it. The Brodeurs moved in by April 2013.

The 1929 house was gorgeous, yet the interiors were serious, featuring darker jewel tones. 

The Brodeurs preferred the colors of the sand and sea. “I grew up on the coast; my influences are teals and blues.” Betsy says of their tastes, which were lighter, airier and coastal.

What she wanted was to recreate the light-filled vibe she had always loved as a Floridian from Siesta Key near Sarasota. 

Betsy left Florida in 1996 and moved to Charlotte. “My mother died, and that rocked my world. Eventually, she met Lee while at the beach. 

“A girl from Florida meets a guy from North Dakota in Myrtle Beach!” she laughs.

Their golden retriever is named Myrtle to honor where the couple met.

In some ways, their home is another homage to her mother. Betsy began doing what her mother had done repeatedly as a minister’s wife, polishing up drab parsonages. She showed Betsy that ingenuity could transform a space. Time and again, her mother did the impossible with spaces that were anything but beautiful.

“She was artistic. She made things look fantastic, and also made it great for the next couple coming in,” Betsy recalls. “New minister, new minister’s wife, and they go to this crappy house. It became her gift to the next family.”

The lesson stuck. Betsy followed in her mom’s footsteps, becoming the consummate do-it-yourselfer.

She set out with neutralizing things, deleting Mediterranean and French influences. She gave it the feel that she loves — “beachy,” she repeats. But appropriately so. 

“I had a wonderful teacher in my mother,” Betsy reiterates, using one of her mom’s oft-repeated expressions, “tending the hearth.” “I’ve always liked making my homes comfortable,” she adds, “but this one meant even more. I was almost channeling my Mom and didn’t realize it.”

A year into the move, Betsy had officially made best friends with Benjamin Moore. She began painting and switching a more formal interior to a decidedly beachy one, with wood and wicker furniture and accents. She created a tight color palette, using natural finishes, creamy white and even robin’s egg blue. Paint was going to be the biggest ally in making an already gorgeous home the Brodeurs’ own.

She went at the project after-hours even when exhausted from her workday. Lee eventually suggested Betsy might want to retire and “tend the hearth” full time. Four years ago, she did.

“I’ve always worked with nonprofits, most recently with the Women’s Resource Center,” says Betsy. Retirement would mean she could devote herself completely to updating the home. 

Betsy, now retired, grabbed even more gallons of creamy greige, white and blue Benjamin Moore paints, and rolled up her sleeves to finish the job.

Although Betsy insists “we did things on the cheap,” their refreshed home reads casually refined. “Paint mostly,” she insists modestly. “I learned so much about color. I guess you could say I did it myself,” she says with a throaty laugh. 

She particularly wanted the house to be a haven for her three stepdaughters, even though the eldest is now 25 and will soon marry.

She felt the need for the house’s colors to reflect her stepdaughters’ tastes and preferences, too. “Subtly, I can make their spaces comfortable and mirror them,” she says.

The space gained by the move from a smaller home was more comfortable for the entire family.

“With a limited fix-up budget, I had to be even more resourceful,” says Betsy. Out went beautiful red velvet drapes and formality. The house seems to relax into the new owners’ style. 

The kitchen spiff-up was her second major task after painting. Flooring was replaced with new hardwoods and countertops and backsplash were replaced.

She kept with period-specific updates. Betsy stuck with marble for the kitchen counters, a material that could look as if it had been there for 90 years. The Brodeurs retained the Wolfe professional range, and also kept a pantry with ample shelving and wine fridge, but opted to remove the pantry doors to open the space more.

Betsy, who loved all things color-related, would work alongside the painter hired to work on the kitchen’s cosmetic changes. And she loved having done that, giving herself over to whatever work needed to be done, even the tedium of cabinet painting. 

“To redo the kitchen would have cost us a fortune. But I enjoy seeing the brush strokes.”  She learned new skills by supervising the kitchen work.   

“I did the whole house,” Betsy says with no small pride, doing a walk-through of the sunny downstairs living room, sunroom, dining room, kitchen and added playroom with a secret powder room. 

Spacious for its vintage, it has, in addition to the six bedrooms, a seventh upstairs was converted into a laundry room. “It could be seven bedrooms,” says Betsy. There is room for a workout room and a cozy den upstairs, as well. 

The floors were refinished; surfaces were made more neutral.  Furnishings were kept airy and bright.

As with most homes, the heart is the kitchen, where the marble countertops complement the crisp, white subway tile (versus the previous French hand-painted tiles and darker colors). Betsy stops in what they now call the keeping room. Betsy admits she never heard of it, the one space that had perplexed her. 

Here alone did she rely upon the advice of a pro, Greensboro designer Maria Adams, regarding one thorny problem at the kitchen entry.

“I never had gotten used to the area, with its beams,” says Betsy.  It was walled off and awkward. “We never used it. My husband started saying, should we discuss creating an open floor plan?  Should we move?”

They didn’t want to take down any walls. How to make it work, she wondered?

“Lee bought me an hour’s consultation with Maria, and the designer suggested it be switched out from kitchen eating area to keeping room,” says Betsy. In the meantime, Adams admired how Betsy had taken an already lovely house and made it even more so. 

“She walked in and said, ‘You don’t need me, this is beautiful.’”

Betsy had noticed the designer’s style and was a fan. “I’d seen Maria’s work, I liked her style.  I told her we weren’t using the space correctly. It felt very uncomfortable.” 

But when the designer explained it should be a keeping room, a throwback to colonial days when families would sleep in a room adjacent to the hearth for warmth.

“She said it very well could have been built for that purpose.” The designer sent pictures of suggestions and furnishings. Adams recommended a small sofa and chairs to create a sitting area.

At first, Betsy balked at the designer’s notion, but once the concept of a keeping room took shape, she discovered it was a successful and creative idea. It also honored the house’s history.

Betsy dislikes when history is stripped away. She didn’t want the original beauty of the house to be lost or compromised, which can happen with big-budget remodels.

“When I was in such a hurry, I had to redo things. I couldn’t really rest if the paint color wasn’t quite right,” she recalls. “When you live with it long enough, it will tell you what is needed. It reaffirms I didn’t hire out all the things I wanted to do, “she says.

Today the imprint of Betsy’s coastal theme is complete. 

The sea is imprinted here, too; starfish motifs abound. Betsy admires the starfish because it can regenerate its legs and keep on going.

“I felt the house going ‘thank you,’” she says, relaxed in a wicker chair by the living room fireplace. “I called my husband and said thank you, because I felt the house saying it to me.”

Nonetheless, there is always a project calling to the do-it-yourselfer. She says a 2008 remodel to the upstairs master suite is perfectly serviceable, yet . . . she hopes to eventually make it completely her own. It is spacious and pleasant, “but I’ve had five different paint colors trying to make it work,” she says. “But I have to wait until we win the lottery.”  OH

Cynthia Adams is a contributing editor to O.Henry.

Lightcatcher

Lightcatcher

For landscape painter John Beerman, beauty is everywhere

By Nancy Oakley

A sweeping lawn on a sunny day glistens in shades of greens and yellows, then blues and grays where trees have cast their shadows. You can fairly catch the scent of freshly cut grass, feel a faint breeze skip across your brow. Just as you might absently mop your brow from the scorching heat of a late summer day, while gazing at a dry and dusty country road that curves endlessly toward the unknown. Never mind that the scenes before you are of North Carolina and Texas, respectively. Or that you might never have visited either one of them. “It doesn’t have to be the actual place,” says John Beerman, painter of the two landscapes. He smiles, recalling traveling down a similar dirt road in the flatbed of a pickup truck, with his paints and easel in hand. “It’s not so much about the image as how it’s put together,” he says. And, of course, how the image makes the viewer feel. At some point, we’ve all experienced the elation of being alive on a sunny summer day, or weariness from its oppressive heat.

Eliciting such emotional responses hinges on the play of light in nature, a fascination for the artist and Greensboro native, who stands before the canvas of the summery lawn in his Hillsborough home that he shares with poet Tori Reynolds. “When you look at grass, it has all these things going on. At first you think it’s just a green stripe or a yellow stripe. There’s all this richness.” But capturing that richness in a painting is not about “flash” or a “horn blast,” Beerman insists. “Rich color is not the most brilliant blue you can get out of a tube.” Rather, it’s a matter of, “How do you enrich a gray to make it a full gray? How do you make these subtle nuances glow?”

In another painting of a cottage in New Mexico lit from within at dusk, Beerman has carefully applied several shades of blue, blue-gray, violet and aqua to replicate the building’s corrugated metal roof. He points out the telephone pole and wire in the scene, a feature he once included in a series of paintings of churches. “I’ve had several people come up to me and ask: ‘Why did you mess it up with the telephone wires?’” he laughs. “I just think it’s kind of fascinating the way it curves.” He was similarly taken with, of all things, a Rhode Island trailer park. “The light as it’s falling on the dreary old trailer in a certain way, that speaks to me as much as a beautiful mountainside,” Beerman says. “I’m not really concerned with the ‘beautiful.’ Anything can be beautiful.”

He couldn’t help but be struck by the beauty of the North Carolina mountains during his childhood. It was then that his artistic journey began. His mother had always encouraged art as a pursuit, buying her youngest son chalks and pastels, and enrolling him in private lessons. “I was taking art classes before first and second grade,” he recalls of the sessions with a family friend, Barbara Covington. “She lived on Princess Anne and taught out of the back of her house.” Beerman reels off other memories of the Gate City from those early years: Fisher Park and attending Irving Park elementary school. “I remember the old Lawndale Shopping Center. I’d go to the GI 1200, down from Roses. It was called GI 1200, because it was Government Issue. They had Army knapsacks and such.”

But it was those visits in the early 1960s to his grandparents’ cottage in the mountains that left an indelible impression. In those days, Beerman says the place had no TV, and with few children his own age in the area, he had a lot of time on his hands. He spent it in the company of a distant relation whom Beerman describes as “an amateur kind of a Sunday painter.” The young child was mesmerized. “I’d watch him paint on the deck overlooking this beautiful lake. I think watching him showed me: How do you make use of your time? Nobody wants to sit around. I like to do something. It seemed like a pleasant thing to do. It got me going.” He pauses for a moment, “Plus it was in this beautiful setting . . . maybe that’s what sent me to Vermont.”

The Green Mountain state is a long way from Greensboro, but it beckoned the budding artist as he was starting 10th grade at Page High School. Six weeks into the fall semester, he was working on an assignment in an art class. “At that time it was [called] commercial art,” Beerman remembers. “The first assignment was to go through a stack of magazines and make an ad for GM,” he laughs. But it was an advertisement of a different sort that would transform his life as he dutifully went through the periodicals, choosing one titled New York Times Magazine. “I’d never heard of it, at that point in my life,” says Beerman (ironically, now a loyal subscriber to the Times). “I started to cut stuff up in it, and I noticed in the back, they used to have these little ads for schools,” he continues. One of them, for Woodstock Country School, on a 300-acre farm in Vermont, caught his eye. As did its small size — only 60 people in the student body — and the curriculum. “That little ad said, ‘stresses the arts and humanities,’” Beerman recalls. “And that’s what really stood out to me. I’m not much of a science guy.” The school’s fall term started in early October, so Beerman figured there was still time to enroll; with money set aside from his grandparents, he could cover the cost of tuition.

He was ready to embrace change. His parents had divorced years earlier, his older siblings had all left home for college, and Greensboro in the mid-1970s held little appeal for the 15-year-old. “Downtown was dead; the big thing was Four Seasons Mall; that’s where everybody went. And for whatever reason, I never felt a part of that scene,” Beerman says. “There was not much to keep me around.”

So, he packed his bags and headed north, and for the next three years, he blossomed. “There were kids from all over the place, from out in the country. It was beautiful, Vermont.” Though not particularly outdoorsy, Beerman says he has always loved being outside. “I felt solace in nature,” he reflects. “It’s ever-changing, it kind of feeds my soul  . . . and I love light.” Particularly how it changes. He had ready inspiration in his rural surroundings, where he continued drawing and became involved with photography. So much so, that when it came time to apply to art school  — in Beerman’s case, the prestigious Rhode Island School of Design (RISD) — he submitted a portfolio in photography and film.

But once again, his trajectory took a detour. “My first figure drawing class at RISD was just charcoal and newsprint. I loved the immediacy of it. I loved — I guess it was the hand quality,” Beerman says. In addition to requiring long, solitary hours in a darkroom, photography, he emphasizes, was “not a hand-to-hand tactile thing, and I loved the tactile thing.”

Beerman quickly changed his major to painting, which provided him with the opportunity of “actually building something. You’re making something with your hands, and I like that. I liked it a lot. Still, to this day, I try all these different papers and linens and supports,” he says. In another landscape, featured in a recent exhibit at Anne Neilson Fine Art in Charlotte, olive and cypress trees on a Tuscan hillside glow in tones of green, yellow and silver, and appear to sway. “This is an egg tempera painting,” Beerman explains, adding that the simple mixture of egg yolk and pigment produces a translucent effect. “It adds a complexity to the color,” he says — as opposed to some of his oil paintings that create what he calls a “mushy” effect.

Beerman discovered egg tempera during his training at RISD. “Craft,” he says, “was really important to me.” At a time when Abstract Expressionism was de rigueur, he felt he had to explore other avenues to inform his painting. “I had to go into the illustration department and take egg tempera classes,” he recalls, “because in painting it’s really frowned on; craft was academic.”

He likes the medium because it dries quickly once it’s applied to a surface primed with gesso [pronounced “Jess-OH”] that he makes himself, with rabbit skin glue and calcium carbonate. “Same thing they used back in the old days before oils came in,” Beerman says of the Italian Renaissance painters. And indeed, another of his Tuscan landscapes is reminiscent of the stylized backgrounds one might see in Piero della Francesca painting. Or perhaps 17th-century French master Nicolas Poussin. “I’ve been all over the place,” Beerman allows. “I had evolved through influences, from Modern to Ancient, and somehow it filtered through me. It’s kind of a mystery because you don’t know it till you see it.”

He saw it clearly in the East Hampton Library while he was living in an artists’ enclave of Springs, on the south fork of New York’s Long Island, following his tenure at RISD and Maine’s Skowhegan School of Painting & Sculpture. “I discovered the Luminist School, which I’d never known about, had a lot of influence on me.”

Considered among art historians an offshoot of the Hudson River School, the Luminists came later, in the mid-19th century, directing their attention to the effects of light on landscapes. Unlike the Impressionists, who followed a similar quest with diffuse brushstrokes, the Luminists tended toward more precise renderings, their works more muted and reflective. Or as Beerman observes, “The Hudson River School was more dramatic — drama with a big ‘D’ — whereas the Luminists were not melodramatic.” Their subdued paintings, particularly those of Fitz Hugh Lane and John F. Kensett resonated with him. “That’s when I really got married to the landscape,” he says.

Borrowing his father’s VW camper, he retraced Fitz Hugh Lane’s travels through Maine and produced works for his first show in Manhattan — at a time when landscape painting was not in vogue among the intelligentsia. “It was not considered cutting-edge,” Beerman acknowledges. “I don’t like it when art becomes like an echo chamber of a very small group of people. I don’t want art cut off from most people.”

Just as he forged his own path in his youth, leaving Greensboro for Vermont, or exploring those illustration techniques at RISD, Beerman made his singular mark on the art world, his works ultimately finding places in the permanent collections of New York’s Metropolitan Museum of Art, the Whitney, the Museum of Fine Arts, Houston, and the North Carolina Museum of Art in Raleigh.

Based in Nyack in the Empire State’s Hudson River Valley, he relished being only 30 minutes from Gotham’s museums. “Frederic Church did oil sketches when he was traveling. I got to go to Cooper-Hewitt and pick them up — put white gloves on my hand and look at these paintings,” Beerman remembers. “I was like, ‘Oh my God!’ It was great!” He maintained close ties with his professors at RISD, where he also taught, and painted his environs, such as a large horizontal of the Hudson River, its imposing cliffs rendered in shades of violet and dwarfing the town of Yonkers in the distance. “Yonkers is an industrial town, factories and all that stuff,” Beerman explains. “And right across are the Palisades — basically the same thing Henry Hudson saw 400 years ago, which is really cool.”

The painting hangs in the hallway of Beerman’s home in Hillsborough. He had heard about the small burg after returning to North Carolina in 2009 when his marriage ended and rented a place there. It was a challenging period, but Beerman reconnected with his roots. His brother Bob, who with his wife, Teresa had established the Bass Violin Shop near downtown, and as Beerman concedes, “The silver lining was, my father was in Well-Spring [retirement community] and dying, and I got to spend the last three months with him.”

There have been other silver linings, as well. After his 40-odd-year absence, North Carolina proved a revelation to the artist. “It’s a wonderful place!” he says enthusiastically. In the 10 years since his return, he’s rediscovered his old hometown, serving on the board at GreenHill for a time, and getting to know a revived downtown with new places, such as Scuppernong Books, which has become a favorite, along with the Greensboro History Museum and, as one would expect, Weatherspoon. Most important: “We’re surrounded by this beautiful landscape.”

A landscape that has been a prolific muse. A frequent subject is Chatwood, the Hillsborough estate of friend and writer Frances Mayes, and where Beerman painted that large expanse of grass in summer. (Mayes also lent him the use of her property in Cortona, Italy, where he painted the Tuscan landscapes.) Beerman likes to revisit the same locations on Chatwood’s grounds season after season: the barn in summer, snow-covered in winter; a pasture bristling with greens in one panel or in somber gray and brown hues of a November day in another. He’ll often make oil sketches, or notes or drawings in a sketchbook and then refine them in the larger paintings in his studio, sometimes working on multiple paintings at different times throughout a given year. Until such time as a proper studio is completed in his house, he uses his garage, where among several neatly labeled crates full of paints, brushes, rags and other materials, he produces a small sketchbook. Its pages contain blocks of color and drawings of trees, studies for a larger painting, commissioned by Rex Hospital in Raleigh.

The artist has also conducted painting workshops at Chatwood, and in other locations around Hillsborough, as one former student recalls. Greensboro painter and interior designer Bill Crowder says he learned to “look at things and see things better” under Beerman’s tutelage. “How blue wasn’t just blue, but many colors,” Crowder explains. “The main thing I learned: How things aren’t what they seem necessarily, and seeing what we don’t perceive as being there.” Beerman uses the example of the tufted titmouse to make the same point. “It’s the most gorgeous bird. It’s just subtle grays, that’s all it is. Most beautiful color ever. But you’d be hard-pressed to say, ‘What color is it?’ That’s what’s so fascinating to me about color.”

He’s constantly experimented with color in a number of projects since his return home: still lifes of Jugtown pottery, the shadows of a clapboard yellow house next to his old studio in downtown Durham, studies of Reynolds, one of the few figure paintings he’s done. The two have collaborated on a poetry project, a volume of broadside verse, one of which Beerman illustrated with a brilliant red Tuscan poppy that seems suspended in time. Another depicts a shaded garden where, in a touch of whimsy, a black cat is stretched out on a patch of grass. “My dealer in New York said, ‘Love the painting, but can’t do the cat.’ That’s the problem with New York,” Beerman says, shaking his head. “Why do you have these rules and stuff? Cats are like, soft and cuddly and not cutting-edge, I guess. But, no way I’m getting rid of that cat!”

And, of course, Beerman revisited the place where it all began, the mountains. There, for an entire month, he created “a whole mess of paintings from one spot” — the porch of a house that a collector had made available to him. The experience proved challenging. “I’d get it just right, go away. And then that moment would not just come back the next day, or the next day. That’s the trick, as a landscape painter: It’s never the same twice, and how do you work on a painting for a long time and somehow keep focus for that moment you originally set out to do?” Beerman posits. One solution is to go the mythic route, as in Mountain, New Moon, a standout in the recent exhibit at Charlotte’s Anne Neilson gallery. In it, an oversized orb dominates a shadowy peak of the Blue Ridge. “I sometimes fool with nature,” says Beerman. “The moon was not that big, but I felt I should go ahead and make it that big. It’s not always literal.”

It’s a testament to a master in full command of his art, this North Carolina native son with the light of his native sun — and moon — at his fingertips . . . that shines from within.  OH

Nancy Oakley is the former senior editor of O.Henry.

POEM: January 2019

Warmth

The moon was particularly beautiful tonight

standing there looking almost spellbound

the artist in me creative juices starting to rise.

I thought about getting my camera set up

to capture the narrow, slivermoon

just over the mountaintop ridge,

treetops shimmering with the steady wind . . .

just enough light left

to make a great shot.

Then the 24º windchill reminded me

of how beautiful it is to be warm.

Now the creative juices are cooling down

my socksfeet warming beside the fire.

That moon will have to reside in my memory

as well as all those stars.

— Raymond Whitaker

Birdwatch

Wheezy Does It

Listen for the distinctive call of the pine siskin this winter

By Susan Campbell

Each winter I hear from folks who encounter small brown birds they cannot identify, sometimes visiting their feeders, other times pecking around on the forest floor. Some are American goldfinches in their dull, nonbreeding plumage. Others end up being identified as female house finches through their gray-brown coloration and their distinctive streaked breasts and bellies. But there are other possibilities — especially this season: That finch-like, striped visitor just might be a pine siskin.

In the Sandhills, these feisty little birds frequent evergreens with, as their name implies, pines being their favorite. They can often be seen clinging to the cones, determined to pry out the energy-rich seeds from within. However, they will not hesitate to search far and wide for other abundant seed sources. During the summer months, pine siskins usually are found breeding in the open, coniferous forests of the boreal region throughout northern states of the United States. They also range into southern Canada, as well as higher elevations of the Rockies and western mountain regions. Nondescript, with brown streaks and splashes of yellow on the wings and tail, these small birds are easy to miss. But the wheezy call coming from their little delicate bills is quite distinctive and hard to miss once you’ve heard it. Another tip for spotting them is to remember that pine siskins associate closely when breeding as well as foraging.

This winter we just may have an abundance of pine siskins here. That is because siskins are a species that ornithologists term “irruptive.” Like red-breasted nuthatches, cedar waxwings and purple finches, pine siskins are nomadic and move farther southward in winters when certain seed crops are in short supply across the northern forests. When these gregarious invaders find feeders offering sunflower or thistle seed, they will take up residence by the dozens. Most people maintaining a feeding station, at least in the Sandhills, have almost certainly hosted at least a few of these little Northerners during the last big irruption, which was five years ago.

As numerous as they may become in the weeks ahead, it is unlikely siskins will attempt to breed here. We have actually documented them staying through April in the past. But remaining individuals have always vanished with the early summer warm-up. Southern forests that mimic the usual northern habitat, such as our tracts of longleaf pine, certainly do have the necessary components for the birds to successfully breed, and attempts to be successful by other irruptive species have been documented in our area previously. The most remarkable of these were a few red crossbill pairs that bred in the area back in the mid-1970s.

The numbers of feathered winter visitors is surely on the rise now that natural food sources are becoming scarcer. After a summer that produced a bounty for wildlife, the inevitable depletion of seeds and berries is occurring. So definitely keep an eye (and an ear) out and keep your feeders full — a siskin or two just may drop by!  OH

Susan would love to receive your wildlife sightings and photos. She can be contacted by email at susan@ncaves.com.