Travelogue LXIII: Vermont I: Landscape

September 1st, 2016 I’ve been back in Vermont for two weeks now. At the end of the day, this place comes and will always come closer to home than anywhere else I might live. It’s in my blood, familiar as the back of my hand.

The aesthetics of Vermont are winning me over again, as they always do. It’s a sort of resting, this–to stare into the distance and see nothing but woods and clouds and perhaps a single mown field on the horizon. You can hardly do that in Germany. It’s a country full of green spaces, but with 82 million people in a land the size of Montana, the next village is almost always in sight. Here, so much of what one sees is defined by emptiness, and that emptiness is breathtaking.

This time, instead of posting my own photos I am handing things over to my very talented mother and sister, who have captured a great deal of beauty on the farm in the last two years. Most of the pictures were taken from our front porch.

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Travelogue LXX: Sweden

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The wood-fired sauna in the back garden of friends. In Germany, saunas are a sort of Holy of Holies–no talking, no eating, no nonsense. In Sweden, well, there are often beer bottle openers nailed up to the doors.

June 3, 2016 Last Friday morning I found myself for the first time in six months suddenly no longer writing a thesis. A surreal experience, that, to hold in my hands the culminating project of the degree I came to Germany to get. At any rate, a bit of celebration was in order.

Jonathan had been invited to give a lecture at the Swedish Wine Association, and I took the train up to join him a few days later in Varberg, a tiny town on the Western coast. He spent a couple years helping build up a young winery there, and still has deep connections to the people who run the place.

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Ästad Vingård, the winery.

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Consulting services for a small-scale ecological wine grower.

And so we spent the first couple days attending to business at the winery, or rather Jonathan attended to business and I looked at everything and tried simultaneously to learn Swedish and to not break anything and also drank a lot of wine. On the second day, we spent six hours perched on the back of a four-wheeler spreading natural fertilizer on grape vines and singing Irish drinking songs at the top of our lungs. On the third day, we cleaned out and tilled a little garden plot for a friend and then ran and jumped in the North Sea, which was disgustingly frigid. It doesn’t get much more romantic than that.

Even if I hadn’t been experiencing it all with a particularly dear human being, I still would have reveled in it. This new world I have been introduced to in the last few months–the vineyards, the people who work them, the wine cellars and shops and curious tourists who keep the family business afloat–is something I knowSheep people are not that much different than wine people, at the end of the day. Agritourism is agritourism, no matter which side of the pond you are on. I find the same vocabulary and passions on a winery on the coast of Sweden that I do on a tiny sheep farm in central Vermont. And the more I journey on into the heady world of academia and scholarship, the more I find myself eternally drawn back to these things.

Anyway, in exchange for the work we got two nights in the winery inn–lovely room, wood-fired saunas, three-course dinners in the restaurant followed by all the delights of an open bar. A fair trade, if you ask me.

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Barefoot gardening 100 meters from the North Sea.

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There were wood-fired hot tubs next to the saunas, yo.

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Typical Swedish architecture–wooden construction, straw roofing (below).

OLYMPUS DIGITAL CAMERAOn the last day, we walked up the coast outside of Varberg–a surreal, rugged world of rocks and seaweed and trees bent over backwards from the wind off the sea. Gray and monotone when shot through a macro lens, but infinitely detailed and colorful and rich when viewed up close.

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Looking back at Varberg’s fortress and harbor.

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Varberg’s harbor.

Then it was over, and we made the 15-hour journey back home–through three countries, change trains in Copenhagen and Hamburg, take the ferry into Germany, arrive in Mainz in the pitch black and catch the last bus home.

After so much time on trains, their rhythm and swing get into your bones. For hours afterwards you feel like your entire world is moving, like you are still rushing on into the night with rain water slanting off the windows.

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Half-way between Denmark and Germany.

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Locus Amoenus IV: Home

Locus Amoenus, Latin: the lovely or pleasing place. A common trope in Ancient Roman literature, usually a garden or woodland–a spot of inherent safety, comfort, and striking beauty. The concept features in works by authors as early as Homer, and it was reveled in by the later pastoral poets before being passed on to the writers of the Middle Ages and the Renaissance. Locus amoenus is a place to retreat to, often with overtones of Elysium on earth.

December 7, 2015 I’ve always had a very strong connection to home. Even as a small child, I had an intense awareness of what constituted my people, my land, my place: this is where I came from and where I may leave, but also to where I will always return. Then, as now, I was drawn as much to the physicality of home as to the people who make it up–to the space of it all, to the anatomy and physique. How do we define our most intimate places physically, with what do we choose to surround ourselves? What, anatomically speaking, separates a roof over my head from my home?

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The Bohemian Garett in Vermont. (Photo Credits: Anna Goodling)

For the longest time, home to me was the farmhouse in Vermont I grew up in, and I reveled in the place’s form and build and being just as much as I reveled in its people. There was the iron daybed on the porch where I plowed through Thomas Mann and Nabokov and Nietzsche, sweating even in the shade through the hottest July afternoons. Or the room I shared with my sister–the “Bohemian Garret,” we called it–with patchwork quilts on the beds and silk scarves pinned up to hide the leak in the roof. Or the wood stove downstairs, snow slanting like sand against the window in January, where I lay on a sheep rug next to the cats and scorched the back of my flannel nightgown.

All that to me was home, and when I left for far-away college at age 18 I wasn’t really looking to find it any place else. Sure, my roommate and I etched out our spaces in campus housing, hanging posters and trying to keep our plants alive, but it was never really came close to what I had in Vermont. And I didn’t need it to. I knew my father would arrive in his beater car every spring to load boxes and take me back.

My window in the American college dorm--almost home, but not quite.

My window in the American college dorm–almost home, but not quite.

Now, though, things are changing. I want home, am longing for it, actually, but this longing isn’t accompanied by the desire to return to Vermont. Instead, for the first time in my life I want to create, want to see if I–right here, right now, alone in this country that is in the end still foreign–can make a physical space with as much meaning and pull as the Vermont farmhouse.

The desire started, I suppose, when I first saw the apartment I have been renting now for almost a year. As soon as climbed the blue spiral staircase and ducked through the door behind the realtor, it was my space–the Garret again, but infinitely more Bohemian, 120 square feet of slanty ceilings and exposed beams, windows looking out into leaves and down onto cobblestones. And a tiny tiled bathtub behind a red-checked curtain. If I ever get a lover, that would be just big enough for the both of us, I thought, and somehow that sealed the deal.

“This is it.” I told the realtor. “This is my Carl Spitzweg painting, my La Bohème, my Dachkammer!! I can read German literature here!” Overly ecstatic, as always. “I’ve already had five offers this morning, but I will see what I can do,” he said, and walked me back to the bus stop in the rain. And then, of course, he called the next day: “Frau Goodling, I had to pull a damn lot of strings, but the place is yours, because I can see you living there.”

Tea on the tiny blue balcony.

Tea on the tiny blue balcony.

And now, almost a year later, when I get off the crowded bus and turn into the cobblestoned street where I live, nearly empty at 8pm on a week night, there is coming to be the same lifting-of-weight, the same recognition and expansion I felt in the passenger seat of my father’s beater car, turning off the highway in New York into the green mountains of Vermont. The feeling that I am returning to my space, my home.

I still can’t quite place what it is, physically, that makes a dwelling place into a home. But I think I am uncovering it slowly.

Yesterday, for instance, I bought a Christmas tree for the first time in my life, because Christmas trees have always belonged to the anatomy of home in my world. It’s amazing how the presence of a tiny tree can turn a room into more than just a lived-in space.

Also, in the mean time, I may or may not have found out that my bathtub is indeed big enough for two, with candles around the edge and the skylight open above our heads.

I think someone up there likes me.

I think someone up there likes me.

And so I move slowly towards an uncovering of the anatomy of home, on my own this time, an ocean apart from all other known-ness. Is this a fundamental part of adulthood, this drive to make home where you are, with your own imagination and paycheck, to make a place speak to you and call you back at the end of the day?

Or does my desire to create home arise from the distance itself, from the physical vastness separating me from the spaces of Vermont? At the end of the day, for all my love of Germany and for all the reveling in land and language I have done in the last year, I am still abroad, living in a land that is not really my own. Perhaps the creation of home is a coping mechanism of sorts, a way to make sense of and process an expanse.

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My street.

In the end, with my Christmas tree and my bathtub and a pot of tea on the stove and basil plants on the counter and expressionistic art on the walls, I am left with an awareness of the incredible privilege of it all, this creating and having of a home.

Because Germany is filled right now with hundreds of thousands of people who have no home, who have had their physical spaces destroyed or made inhabitable. The architecture of home became the architecture of nightmare, and so they left everything and came here, and they are starting over in spaces that, however desperately needed, are everything other than home.

And I, sitting on my own bed with a glass of wine and Bocelli crooning in the background, have never had to do that. I left my home because I wanted to, because I was driven by passion and beauty and the desire to pursue my own education. I am going about creating a home in Germany because I can, because it is something lovely. It is as simple as that.

Which all makes me overwhelmingly thankful to be here. There is no terror behind my actions, and that is a miraculous thing.

And, I admit, maybe I’m a little proud of what my space is turning into, too. So the next time you are in a particular street in Mainz, Germany, stop by and I will give you a tour and serve you tea in my home.

In my home, people.

 

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Travelogue LXI: Gotland III: Landscape

Yoga under a sea stack on Fårö Island.

Yoga under a sea stack on Fårö Island. As far north as I’ve ever been in my life. 

September 24, 2015 One final post on Gotland–I’ve written about the people and the farms, but nothing about the natural landscape itself, which is, after all, the backdrop to and shaper of everything that goes on on the Island.

Gotland makes Mainz seem tame and domesticated, civilized to the point of complete docility. In Germany, the pre-Christian, pre-modern past is hidden behind layers of growth and technology and gorgeous Baroque cathedrals. You can almost fool yourself into thinking it never existed–that Germany has always been this post-Enlightenment land driven by progress and the Church. On Gotland, however, it all feels very close–the Vikings, the wooden ships, Odin and Valhalla and all the rest. Portrayals of Mary are more similar to Freia than to anything Christian. On Fårö, the tiny island to the north of Gotland, farmers still raise their livestock in thatched barns and behind stone walls.

One of the 92 (!!) churches still in weekly use on the island. They were built between the 11th and 12th centuries--Romanesque or Gothic architecture, sometimes with a defense tower in front.

One of the 92 (!!) nearly-identical churches still in weekly use on the island. Nearly all were built between the 11th and 12th centuries–Romanesque or Gothic architecture, sometimes with a defense tower in front.

Cathedral ruins in Visby. Many catholic churches on the island were abandoned after the Reformation.

Cathedral ruins in Visby. Many catholic churches on the island were abandoned after the Reformation.

The museum in Visby had a fascinating collection of engraved stones, both pre- and post-Christianity. Here, a woman holds a snake as part of a pagan ritual.

The museum in Visby had a fascinating collection of engraved stones, both pre- and post-Christianity. Here, a woman holds a snake as part of a pagan ritual.

Christian and pagan imagery combine.

Christian and pagan imagery combine.

Boats outside of a small fishing village.

Boats outside of a small fishing village.

Fishing huts with stakes driven into the ground for drying the nets.

Fishing huts with stakes driven into the ground for drying the nets.

Thatched barn on Fårö Island.

Thatched barn and windmill on Fårö Island.

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Another fishing village on  Fårö.

Another fishing village on Fårö, only accessible by a winding track along the edge of the ocean. The rental car took a bit of a beating, there.  

White limestone beaches.

White limestone beaches.

The northernmost point of  Fårö is lined with Sea Stacks, limestone towers formed over millennia by wind and water.

The northernmost point of Fårö is lined with Sea Stacks, limestone towers formed over millennia by wind and water.

Lilla Karlsö Island off the eastern coast of Gotland, where one farmer we talked to grazes several hundred sheep.

Lilla Karlsö Island off the eastern coast of Gotland, where one farmer we talked to grazes several hundred sheep. There were dozens of white swans swimming in the Baltic along this stretch of the coast. 

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Travelogue LIX: Gotland I: Cottage

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September 19, 2015 My dear parents are visiting from Vermont, and the last stop on their journey is a week on Gotland, a tiny island off the coast of Sweden and home to the breed of sheep they raise on the farm back home. We’ve spent the last couple days driving from one gorgeous end of the island to the other, networking, gathering information, talking and talking with the farmers whose entire lives revolve around Gotland sheep.

I think I’m in love with the entire place. In many ways, it reminds me of Vermont–the strong connection to the Land, the agriculture-based community, the feeling of being a part of the natural world. But somehow it is all entirely different: the air smells like cow manure and fresh-cut hay, like Vermont, but also like the sea and like something damp and vitalizing I can’t quite place. There is a whole island mentality, too, which is new to me: the rich tourists who keep the place going aren’t flatlanders and city slickers, like they are in Vermont, but rather mainlanders. The people who don’t make their living on a tiny island in the middle of the Baltic Sea.

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Our first meal on Gotland Island, thanks to a wonderfully kind friend of my mother's--rhubarb lemonade and Saffranspannkaka, a saffron cake made with almonds and raisins and served with fresh cream.

Our first meal on Gotland Island, thanks to a wonderfully kind friend of my mother’s–rhubarb lemonade and Saffranspannkaka, a saffron cake made with almonds and raisins and served with fresh cream. Dangggg.

And Lakritz.

And Lakritz, the tiny black cat who, exactly like Moses the Barn Cat at home, spends his days schmoozing off gullible tourists and trying to break into the guest quarters. Not that I have a problem with any of that.

We are staying in a tiny, white-washed cottage on a dairy farm, surrounded by climbing roses and a tangle of flowers and apple trees in desperate need of a good pruning. As I have written before, it is very strange to find oneself on the other side of agritourism for a change–especially for my parents, I think, who are normally themselves the working farmers with the guest rooms, courting curious strangers who want to experience “country living.” In the end, though, I think they are loving it. When we arrived, the barn was full of the sounds of chore time: cows, sheep, grain in buckets and milking machines in place. “We don’t have to do ANYTHING!” my mother said. “KICK BACK!” said my father. Strange, and somehow wonderful in a Schadenfreude sort of way, to be on a farm and simultaneously to not work.

Eating Saffron Pancake and NOT WORKING.

Eating Saffron Pancake and not doing chores.

The cottage.

The cottage.

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So we, the leisurely paying guests from the mainland, unpacked the rental car and grilled Baltic salmon and watched re-runs of the Big Bang Theory dubbed into Swedish. The last time my parents took a real vacation from the farm, I was ten years old.

It's the best feeling in the world, SEEING livestock and not having to DO anything about it!

It’s the best feeling in the world, SEEING livestock and not having to DO anything about it!

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Travelogue XLIX: Weinkultur

 

At the Weinfest am Kirchenstück.

At the Weinfest am Kirchenstück.

July 5, 2015 Most Americans associate Germany with beer–Pilsner and Weizen, Oktoberfest, etc etc. But I am living in Rheinhessen, the single largest wine-producing area in the country, which means that the Germany I know is the land of wine. Weinkultur–Wine Culture–is definitely a thing.

Here, wine is much more than something you pour at dinner, is about much more than the alcohol content. You don’t just drink wine–you talk about it, you debate and discuss, you admire. You make a trip once a year to your favorite tiny winery somewhere in Flomborn or Büdesheim or Bingen and come back with a trunk full of €600 worth of champagne. You sit every Friday night in the same Weinstube you have been going to since after the Second World war and make speeches about the Riesling for the benefit of the Mädchen from America.

It’s an art form in and of itself, talking about wine, and the amount of knowledge and genuine passion the average Weinstube-goer brings to the discussion is absolutely staggering. It’s like the way my little brother talks about baseball, or the way my piano teacher could compare the voices of Fischer-Dieskau and Wunderlich–the finest of nuances spun out into story, with a whole poetic vocabulary and symbolism to match.

I’m learning, too. After a year, I know what I like–dry Riesling, a good Rosé, and every now and then an Auslese because they taste like whatever the gods were drinking on Homer’s Olympus. But I’m no expert, can’t work out all the tiny differences that transform the drinking and talking about of wine into a sort of creative act.

Yet, anyway.

OLYMPUS DIGITAL CAMERAIn Mainz, the opportunities to celebrate, learn about, and, most importantly, to drink wine abound. The city is one of the eight Great Wine Capitals in the world, after all, and people are verdammt proud of it.

At the University of Mainz, for instance, the student-run group Uni Vinum organizes a “Wine Express” once a month for students–€15, a charter bus, an afternoon of wine-tasting at a couple of the hundreds of wineries in the area. Most are small family businesses run by multiple generations, with histories that go back hundreds of years. A wine-tasting includes a tour of the vineyards and a presentation of the wines by a member of the family, with plenty of opportunities to ask questions and peek behind the scenes. For newcomers such as myself, it’s perfect.

The drive to diversify--many wineries have a small Gästehaus, or bed-and-breakfast inn.

The need to diversify–many wineries have a small Gästehaus, or bed-and-breakfast inn, alongside the wine business.

For me, equally as fascinating as the wineries themselves is the chance to be on the other side of agritourism for a change. When I am at home, on the farm and bed and breakfast in in Vermont, I live the family business. There, I am the second generation, the daughter on the family farm who serves simultaneously as actress, tour guide, and seductress of the curious strangers whose money allows us to do what we do. At home, as in Germany, it is all about storytelling. My ancestors purchased the land in 1650, I grew up in these vineyards with my father, we are the only fully organic winery in the area–my parents came from the city and started the business from scratch 30 years ago, I spent every summer in the garden with my mother, we are the only farm with Gotland sheep in New England. A family business is a family business, whether in Germany or America, and the rhetoric is always the same.

A multi generational affair: above, the son, below, the father.

A multi generational affair: above, the son (on the right–to the left is Max Lindemann, the force of energy behind Uni Vinum), below, the father.

Storytelling.

Storytelling.

And a cute cat, of course. The presence of a small and fluffy animal is guaranteed to increase the buying power of tourists.

And a cute cat, of course. The presence of a small and fluffy animal is guaranteed to increase the buying power of tourists.

Champagne reception in the garden....

Champagne reception in the garden….

Then into the cellars...

Then into the cellars…

...and then a tractor ride up to the top of the vineyards for wine tasting.

…and then a tractor ride up to the top of the vineyards for wine tasting.

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About 8 wines in. 🙂

For those who want access to more than one winery at a time, however, there are the dozens of wine festivals taking place in the area at any given moment during the summer. They range from tiny–a few stands at the corner of some vineyard on the Rhine–to immense–the Weinmarkt in Mainz lasts for two weekends and attracts hundreds of thousands of visitors.

Last night, for instance, I went to the festival on the Kirchenstück, a small vineyard right outside of downtown Mainz. It was a local affair, almost entirely free of international tourists–no live music, no fancy show, just picnic tables set up between the rows of grape vines and a field turned into a make-shift parking lot. The German couple I was with knew many of the wineries personally.

And it was absolutely gorgeous.

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Weinschorle--half wine, half sparkling water--is very popular when the temperatures are in the mid 90s, as they were last night....

Weinschorle–half wine, half sparkling water–is very popular when the temperatures are in the mid 90s, as they were last night….

A family affair....

A family affair….

The spoils.

The spoils.

Rosé.

Rosé.

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When we left it was nearly midnight, and people were still coming in. Lanterns strung up over the road, crates of empty wine bottles stacked behind the stands, children running down between the long rows of grape vines. They were probably going to be there all night.

Travelogue XLIV: Farmers’ Market in Mainz

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May 29, 2015 Now that I live in the Altstadt, the Mainzer farmers’ market is only a two minute walk away. And I love it. It’s another connection to my childhood in Vermont–some of my earliest memories are of Saturdays spent at the Randolph market, where my mother sold handmade baskets and my sister and I ate apple cider doughnuts and played with the kittens that some farmer or another was always trying to hand off. Later, after we moved to Grand View Farm, my mother sold yarn and wood-fired pizza on Friday afternoons on the Chelsea commons, and my sister and I read Tolkien and Thomas Mann and babysat our border collies. “I hate farmers’ markets in Vermont,” my brother always said, 16 and way too cool for small-town New England, “There are too many hippie children.” A reference, of course, to the ever-present horde of skin-kneed, androgynous, ice-cream eating, Waldorf-schooled, and thoroughly wild, wonderful offspring of Vermont’s 1960s generation. “Come on!” my sister and I always said, “It wasn’t that long ago that we were all right out there with them.”

The children in Mainz are different–more city-savvy and multi-lingual, and better dressed–and the backdrop is completely different–cobblestones and a 1,000-year-old cathedral instead of a green-grass common and white clapboard church–but the market is, in essence, the same. Farmers are farmers, no matter where in the world one happens to be.

There are lots of nuns in Mainz.

There are lots of nuns in Mainz.

This time of year in Mainz, asparagus and strawberries are in season. It’s rather like rhubarb season in May in Vermont–you rejoice when it comes, gorge yourself for a month, and by the end of it are so sick of the stuff that you don’t have a problem waiting a year until spring rolls around again. Here, there’s an Spargel-und-Erdbeeren (asparagus and strawberries) stand on almost every street corner, it seems, and half the market is devoted to them in some form or another. Try the asparagus chutney and the strawberry jam! Here’s the best wine to pair with asparagus and strawberries! Buy a kilo of each and save five euros!

Needless to say, I have eaten an inordinate amount of asparagus and strawberries in the last month.

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And apples. There are always apples.

And apples. There are always apples.

Below: Moritz, the biggest, fattest, fluffiest rooster I have ever had the pleasure of getting to know. His owner, who has a cool hat and the broadest of Meenzer dialects, is pretty cool, too.

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Meat--a very important part of the farmers' market in Germany!

Meat and bread–a very important part of the farmers’ market in Germany! Below, wurst-selfies FTW.

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Meeenzer Pesto!

Sauerkraut and pickles.

Sauerkraut and pickles!

Also wine.

Also wine.

Mainzer Winzer--the wine stands take up the entire end of the market. Also note that this picture was taken before 10am. Only in Germany....

Die Mainzer Winzer–the wine stands take up the entire end of the market. Also note that these pictures were taken before 10am. Only in Germany….!

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My purchases today–kale, sauerkraut, green olives, strawberries, asparagus.

In the end, whether in Vermont or Germany, the purpose of a local market is to forge connections between consumers and the land, the food, and the people who grow it. As a popular Vermont bumper sticker says, “Who’s your farmer?” That question is a little harder to answer in urban Germany than it is in backwoods, hippie New England, of course, but I think the market is a good place to start.

'Til next week!

‘Til next week!

Travelogue XXXIII: Humans of Vermont

Vermont is full of extraordinary people. The Green Mountains seem to attract the hardiest and uniquest of souls–both those who have been born and raised here, and those who have chosen to make a life in the state. The Vermonters remind me a more than a little bit of so many of the Germans I have gotten to know, actually, especially during my time on the farm in Kulmbach–politically liberal and socially open-minded, intensely practical, environmentally conscious, slightly hippie and invested in sustainable living, and with a deep love of language and tradition and place. It may take a good five years before the old timers will accept a newcomer, but once they do the friendships are deep and lasting.

In Vermont, especially, I am fascinated by not only how people live, but where–what physical objects they surround themselves with, the type of structure they choose to live in. There are our neighbors Hannah and Dave, for instance, who lived in a school bus for years while building their off-the-grid bungalow with a wall of glass windows facing into the mountains, or Joe and Bob from down the road, who raised a family in an octagon-shaped home made of rough-hewn granite with storage space for the cider press and barrels of maple syrup. And so many more.

Below, a few of the other people I have had the privilege of getting to know during the last two decades, and the spaces they call home.

IMG_3191Justine, Montpelier, Vermont: ninety-one years old, shepherdess, reader of storybooks and teller of tales. Before she moved full-time to her Montpelier apartment, my siblings and I spent countless afternoons on her falling-down farm in Northfield. She fed us tuna fish sandwiches and ginger ale floats, and we fished the dead mice out of her pool before jumping in in our underwear. She taught us all to knit, and we spent hours digging pieces of old china out of the creek bed at the bottom of her field. Her collection of ancient silver spoons was delightful, and my sister and I picked different ones for our ice-cream each time we visited. When my brother was born, she knit him a sweater with her own wool, still a bit stiff with lanolin, bits of hay spun into the yarn.

Her apartment, where she has lived alone since the death of her Latin-teacher husband a decade ago, is full of the mementos of a long and full life–turn-of-the-century artifacts, photographs and old books, pressed flowers and butterfly wings.

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The windowsills of Justine’s farmhouse were always full of her findings–smooth stones and feathers, seed pods and colored leaves. She has carried on the tradition in her apartment.

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The tapestry is a family heirloom from the 1780s, a scene from Shakespeare’s Henry VI.

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Her windows overlook the dam on the Winooksi River. “The river is different every time I look out the window. Isn’t that wonderful?” she said.

Dian and Tom, Chelsea, Vermont: I met Dian during the hottest afternoon in July three summers ago. My mother had dragged me into town to watch our stand at farmers’ market and I was doing a poor job of it–half dozing, Thomas Mann’s The Magic Mountain propped open in my lap. All of the sudden, Dian was standing in front of me. “Do you like that book?!” she said, and then we talked about Mann for half an hour on the commons in downtown Chelsea, population 800. Sometimes life is awesome like that.

Dian is an actress with a degree from the Royal Academy of Dramatic Art in London, an author and journalist, a painter, director, dancer, and erstwhile sword-fight choreographer. Her husband Tom writes and illustrates children’s books and plays his own compositions on the old upright piano in the bedroom.

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Their home–The Palace of the Artists–is a restored camp, with colorful doors and an adjoining studio and windows looking into the birch woods and the mountains. It is full of their own artwork and beautiful objects collected during a lifetime of world travel. In the back yard, there’s a little gypsy wagon, where you can sleep in the summer.

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Dian’s studio and study.

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One of Tom’s two loft-studies–“This one’s for writing my books, and the other one is for looking at my stocks,” he explained. (photo: Anna)

Travelogue XXXII: Inside the Studio

OLYMPUS DIGITAL CAMERAMarch 15, 2015 My family owns a sheep farm and Bed and Breakfast Inn in the backwoods of Vermont. I grew up making beds and serving meals to guests from all around the world who, along with the hundreds of thousands of others who make up Vermont’s tourist industry, travel to the state to look at leaves or ski or learn about sustainable living. The constant presence of The Public on our farm means that the place has to be spic and span during the busy months–flower boxes on the porch, mowed lawn, the rusted-out farm truck banished to some back-40 field drive or another.

Our beautiful studio in the barn, too, is quite presentable during the summer months. It’s the seat of the farm store, where we sell yarn and fiber from our animals, and the space we use to teach classes or host visiting weavers and felters. There’s always something going on–a wine tasting or a children’s camp or an open studio day of some sort. My mother runs a tight ship, and the studio is usually an orderly and welcoming place.

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Photographing yarn for the online store, with the help of Moses.

In the winter, though, that all goes out the window. It’s the off season–no Public, since only the hardiest of guests want to stay on a farm on dirt roads in the middle of winter. That means that the studio no longer has to be orderly. It becomes the workroom for new projects and patterns, a storage space for boxes of yarn and raw fleeces in plastic bags waiting to be sent off to the mill in the spring. It’s half photography studio and half construction zone, full of inventory waiting to be shipped or listed online, and a winter’s worth of odds and ends and new ideas which will be brought to fruition when the weather turns warm again and the guests return.

That’s winter in Vermont, though–taking stock, resting, waiting, planing for the return of the warmth and the work of the summer. And despite the mess, the studio is still an absolutely fascinating place.

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Carding combs.

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Samples knit with patterns designed specifically for our yarn.

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Drop spindles, waiting for the next introduction to fiber arts course.

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A mural from past years’ children’s camps.

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Moses claimed one of the felted purse samples for his own.

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Looms in storage.

…And then back out through the barn, full of grain sacks and lumber and tractor pieces and bikes. Outside, though, everything is clean and white. It has been snowing more or less constantly since I arrived.

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