Poem May 2026

POEM

FLOATING

A hawk drifted over as I backstroked

through the neighborhood pool.

It glided more effortlessly

than I’d imagined possible,

circling and diving on the breeze

without thrash or beat of wing,

so I puffed up my chest

and floated awhile, wondering

if he’d spy me and swoop down

to make a meal of my laziness.

Maple seeds helicoptered

into the depressions

between ripples, bobbing expectantly.

Drowned, fat caterpillars

littered the blue between lanes.

There are graveyards

where the bones rest

less tranquil than that afternoon,

but I ripped it into lines,

and still I am ripping it into lines,

looking for sad, explosive meaning,

proof that I skimmed

that particular magnificence

and didn’t go under.

— Ross White

Golf Town Getaway

GOLF TOWN GETAWAY

Golf Town Getaway

From city to country and back again

By Jenna Biter 

Photographs by John Gessner

Mary and Mike Patterson have breezed between their Raleigh home and Pinehurst golf retreat for going on two decades. “It’s an hour and 15 minutes door-to-door,” says Mary Patterson. Because the drive’s short, the Pattersons can come and go as they please. “It’s just a nice getaway,” she says.

The couple purchased the ivy-colored farmhouse in the Country Club of North Carolina in 2008. “It’s funny, we drove down the driveway, and I looked at Mike, and I said, ‘Oh, I don’t know about this house — the first thing I need to do is change that orange trim,’” Patterson says. “But I’ve grown to like it.”

In fact, there was a lot to like. The house is right-sized, in the ballpark of 3,000 square feet, and well-placed, tucked down a curlicue of a driveway with a picture-perfect lake view out the back. A wide wraparound porch steps onto a lawn that slopes down to the glittering water. The fourth hole of the Dogwood golf course lies on the other side.

“We looked on and off here for years,” Patterson says, recalling the process. Mike became a member of CCNC years before they bought. From regular trips to play golf, the Pattersons knew they liked the community — and the golf — well enough to buy in. “You can’t get better golf than around here,” she says matter-of-factly.

The neat little farmhouse had been on the market for a while, and in hindsight, Patterson is not sure why they hadn’t considered it sooner. “When we did, I thought, ‘Yeah, this would work,’” she says. “Most of the houses here are traditional homes: formal living room, formal dining room, den, kitchen, breakfast room. We just didn’t need that.” They wanted something more compact.

An entry hall leads into the house, revealing an open living room/dining room/kitchen configuration that flows onto the back porch with the enviable view, birds swooping and soaring over the lake.

The wooden floors came from an old tobacco barn. “The beams, I’m not sure where they got those,” Patterson says, motioning to the rustic wood running intermittently overhead. The couple replaced an old beam fireplace with limestone that counterbalances a burly brick range hood across the way in the kitchen. Earth-toned ceramics from Seagrove potters decorate the counters. The urns are for show, but the serving bowls see plenty of use.

“We got furniture from a mixture of consignment shops and antique shops — I love a deal,” Patterson says. That includes a set of 10 matching dining chairs she’s particularly proud of. “I thought, ‘I cannot get these in my car fast enough.’”

The home reads traditional with a touch of English flair. Staffordshire dog figurines accompany guests in the living room, as does a real-life miniature goldendoodle named Biscuit. Whites and creams warm the space and the rest of the home. In the master bedroom, an off-white four-poster bed and a black and white abstract painting by Raleigh artist Gerry Lynch softly contrast with sea glass-colored walls.

“We made a few little changes to make it our own,” Patterson says about the structure of the house. “And it just works perfectly for us.” They removed a wall to add a bar and transformed the first-floor guest room into a sprawling entertainment space complete with a TV, seating area and a pool table backdropped by a dozen or so old Perrier advertisements featuring golf cartoons. One frame shows a golfer staring down at his ball impossibly and perfectly wedged between the ground and a falling-down fencepost with a caption that reads, “Rule XII: When a ball lies in or touches a hazard, nothing shall be done to improve its lie.”

Through a nearby hallway, there’s a generously sized and especially appreciated laundry room. Up a set of wooden stairs are mirror-image guest rooms with equally splendid views of the lake. A fourth bedroom is just a short walk away in a detached-garage-turned-guesthouse with a second floor perfect for visiting grandkids.

“It just kind of all came together,” Patterson says. “You know, it’s comfortable enough, but it has the look, too.”

On the Cusp

ON THE CUSP

On the Cusp

Karina McMillan: Lumbee artist and generational talent

By Liza Roberts

Portraits by John Gessner

hen the artist Karina McMillan was growing up in rural Robeson County, she spent long days outside in the woods and in the surrounding fields of cotton, soybean and tobacco near her house, and long hours with her family, steeped in the culture of the Lumbee Tribe of North Carolina. Never far from her side were the ballpoint pens and paper she used to draw all of it, and all of them.

“One of my first memories is my dad telling me, ‘If you don’t know how to spell something, draw a picture,’” McMillan, now 27, recalls. “I didn’t really know how to spell a lot of things, so I would just draw.”

One day in kindergarten at Hawk Eye Elementary, she drew a picture of the school’s mascot. She was surprised that her teachers made such a fuss over her hawk, hanging it in the school’s lobby, even turning it into a postage stamp for the campus mail system.

More than 20 years later, McMillan’s hawk is still hanging in the school’s lobby, and a standard-issue blue Bic ballpoint pen is still her favorite way to draw. Her subtle, shadowed, soulful portraits of Lumbee and other Native people and their landscapes may look painted from even a short distance, but up very close, the fine detail of McMillan’s hashed and feathered pen strokes becomes clear, emerging from an image as the grooves of a fine-grained woodcut do. In some of her works, she uses acrylic paint in bright hues for backgrounds, clothing and textile patterns, and to create glowing haloes for her subjects.

“Karina McMillan’s work is extraordinary,” says Sara Segerlin, director of the Gregg Museum of Art & Design at N.C. State University. “Her paintings carry a power that goes far beyond color or technique. She brings forward portraits of resilience, memory, pain and strength, stories that refuse to be forgotten.”

McMillan’s work has been exhibited and won awards and recognition all over the state and beyond, and is primed to find a larger audience, says Nancy Strickland Chavis, director and curator at the Museum of the Southeast American Indian at the University of North Carolina at Pembroke. Indeed, Chavis says, an artist like McMillan emerges from her region just once in a generation.

“She will define what this era of native art is for native artists,” Chavis says. “I think that she will lead the way for her age group, moving forward along with other greats like Jessica Clark (Lumbee, in her 40s), and Gene Locklear (Lumbee, in his 70s), to really push the envelope on what the possibilities are.”

McMillan’s Mother Nature, a portrait of a Lumbee woman holding ears of corn rendered in ballpoint pen and acrylic paint, exemplifies the young woman’s technical virtuosity and her ability to depict her people authentically, Chavis says, without the “tropes” deployed by some artists painting Native Americans. She notes that the woman McMillan depicts in Mother Nature is immediately recognizable as Lumbee, and the corn she holds represents the corn reclamation program currently underway to return ancestral strains of corn to the Lumbee people.

Chavis says the portrait is characterized by humility and gentleness, and resonates deeply with audiences who see true reflections of themselves within it. “When I saw it, I lost it,” says Chavis, who is also a member of the Lumbee Tribe. “We don’t have a lot of artists that are doing the type of work that Karina is doing.”

Chavis awarded the piece best in show at her museum’s annual 9/9 Native South Juried Exhibition last September and purchased it for the museum’s permanent collection.

Corn, pine cones, birds and animals native to Robeson County are among the images that appear in McMillan’s work, as are other symbols and patterns that represent her heritage as a member of the Lumbee Tribe.

Learning about her forebears and their traditions as a child made a big impact on her, McMillan says, and remains central to her identity as a young adult. Currently working as a preschool art teacher at Cary’s Ivybrook Academy, she wears a Lumbee pine cone ring on her hand and spends every evening creating works that celebrate her culture.

“I like making art about it to show people that we’re still here,” she says. “We’re still Native. We’re not riding horses and living in tepees, but we’re still here.”

It’s a timely message. Last December, the Lumbee Tribe, which has been recognized by the state of North Carolina since 1885, was finally granted full federal recognition. With a population of more than 56,000 in North Carolina, many of whom live in Robeson County, the Tribe is the largest in the state and the largest east of the Mississippi River. “The history of the Lumbee Tribe long predates the history of the state of North Carolina itself,” Governor Josh Stein noted in celebrating its federal recognition.

“The fight’s been going on since the 1800s,” McMillan says. “So I feel like now we’re finally getting what we’ve deserved for the longest time. It makes me sad and breaks my heart that some people aren’t around to see that we’re federally recognized. Like my great-grandma, my great-grandpa, they’re gone . . . but at least I get to see it. This is a big moment in history, and I’m just really blessed that I get to see it happen.”

McMillan returned to Robeson County to complete her education at UNC Pembroke after two years in college at UNC Charlotte, and to be closer to her family. It was at UNCP, she says, that her artistic voice truly began to take shape.

It’s also where she decided to embrace the humble tool that got her started and has now become her hallmark: the ballpoint pen. It’s what was plentiful and close at hand growing up, when the nearest art store was an hour away. “I thought, ‘How am I going to get these art supplies?’ I just figured, I guess, I’ll draw with what I have. So that’s why I stick to the cheap mediums like ballpoint pen,” she says.

To know it is apparently to love it. McMillan says the medium is both more exacting and more malleable than you might imagine. “If you make one mistake with a ballpoint pen, you can’t go back and fix it. So I’m super focused,” she says. “And it creates the most beautiful — to me — the most beautiful values in a portrait. It can go from light to dark. You just have to keep building up the color. There have been times where I’m working on a piece, and I have to step away from it because the ink is wet. To create more layers and more values, I have to come back later, maybe like an hour later, because it has to dry before I can build up more.”

McMillan’s use of a medium that’s easy to come by puts her squarely in the Native artist tradition. “It reminds me of a lot of Native art, made out of what is accessible, from traditional to what has evolved as modern work,” says Chavis. “Whether it’s grass, pine needles, split oak, clay, all of these things that make our traditional art are what’s accessible.”

Native American artists with connections to North Carolina, including McMillan, are the focus of the exhibit “Stories Told by Breath: Native American Voices in North Carolina,” at N.C. State’s Gregg Museum of Art through Sept. 26.

McMillan’s work — she will have 11 pieces on show — will be in good company. Other artists include Senora Lynch (Haliwa-Saponi), Harlen Chavis (Lumbee), Aaron Baumgardner (Catawba), Coda Cavalier-Keck (Occaneechi Band of the Saponi Nation), Amy PostOak (Eastern Band of Cherokee Indians) and Johnny PostOak (Muscogee Creek) of Three Sisters Designs, Rhiannon “Skye” Tafoya (Eastern Band of Cherokee and Santa Clara Pueblo), Joshua Adams (Eastern Band of Cherokee), Idalis Dial (Coharie), Tim Locklear (Lumbee), N.C. State students Ashytn Thomas (Lumbee) and Victoria Wilson (Haliwa-Saponi), and Gwen Locklear (Lumbee).

McMillan says she’s excited for the opportunity to see her work at the Gregg among other Native American artists. Segerlin, the museum’s director, says McMillan’s work should make an impact. “I hope more people will come to know Karina through her work and spend time with her iconic paintings. They stay with you long after you leave,” she says.

McMillan’s hoping for the same. “I want to be in more museums,” she says. “I’ve had art in different shows in different states, but I want my art to be all over the country, maybe even overseas. I just want more people to see it so they can see who Lumbees are, and what we are as people.”

Chavis says the young artist has every reason to believe in herself. “The sky’s the limit for Karina. Her work is so good. I think that the art world might take her to places she never imagined.” 

Captain’s Choice

CAPTAIN'S CHOICE

Captain's Choice

Matchmaking in Pinehurst, controversy in Augusta

By Bill Case

Twice a Ryder Cup player, winner of the Belgian and French Opens and several important British tournaments, Arthur Lacey had accomplished much in golf, including meritorious service to the game as chairman of the British PGA. At age 47, with his best golf a decade in the past, the Englishman’s selection as the non-playing captain of Great Britain and Ireland’s 1951 Ryder Cup team represented a fitting capstone to a stellar career.

The appointment provided Lacey the chance to achieve a goal he had set in 1933 after narrowly losing a Ryder Cup singles match to Walter Hagen. “From that day,” he confided, “it has been my ambition to captain a British Ryder Cup team to victory.”

The ’51 matches would be played on foreign soil in Pinehurst, North Carolina. The captain could never have anticipated that his two weeks in the town would ultimately lead to his moving to America and establishing a winter home in the very place the matches were contested. Nor could he have known that his second life would include one of the most memorable rules controversies in golf history.

Captain Lacey faced an uphill battle in the ’51 Ryder Cup. The GB&I team — all of Europe didn’t join the fray until 1979 — had not been victorious in any of the four previous cups on U.S. soil. And while most of the American players had competed on Pinehurst’s No. 2 course annually in the North and South Open, this trip would mark the first time any of the GB&I players would have seen it.

But, pure and simple, the chief difference between the two squads was talent. While GB&I did boast two Open Championship winners in Max Faulkner and Fred Daly, the American team featured five men who would eventually be inducted into the World Golf Hall of Fame: Sam Snead (the playing captain of the ’51 U.S. side), Ben Hogan, Jimmy Demaret, Jack Burke Jr. and Lloyd Mangrum.

Sailing across the Atlantic aboard the Queen Mary, the GB&I team arrived in New York on Sunday, Oct. 21. Both teams were feted at a celebratory dinner at the Waldorf Astoria courtesy of Bob Hudson, the Portland, Oregon mogul who had previously footed the bill to bring the ’47 GB&I team to America while the financially challenged United Kingdom recovered from the ravages of war. The next stop was Washington, D.C., where Lacey’s team toured the Capitol and was greeted by Harry S. Truman at the White House. They played a practice round at Columbia Country Club on Wednesday, Oct. 24, enjoyed another reception and rushed to Union Station to catch the night train to Southern Pines.

Arriving at the town depot Thursday morning, the visitors were, according to the Pinehurst Outlook, “whisked to Pinehurst in a bus which rattled with the sound of the war clubs with which they will try to take the No. 2 championship course apart.” After a flag-raising ceremony at Pinehurst Country Club, the weary travelers checked in at the Carolina Hotel, where they, along with the members of the American team, occupied the hotel’s east wing.

With the matches commencing the following Friday, GB&I had six days to prepare. Lacey was guardedly optimistic. “We have yet to gain our first success in America in this series,” he said, “but I am sufficiently optimistic to think we have brought the best team so far to attempt this difficult task.” When asked about his duties as captain, Lacey couldn’t resist a cheeky response. “Looking after the trophy aboard ship when we return,” he said.

Lacey’s squad was offered the option of playing the “small ball” ( a minimum of 1.62 inches in diameter pursuant to the rules promulgated by the R&A in contrast to the 1.68 inch minimum prescribed by the USGA). The smaller ball flew farther than its American counterpart and tended to perform better in the windy conditions found in links golf. Lacey declined, saying, “We came here to win these matches, and since they are to be played in this country, we will play by your rules.”

Frequent blurbs relative to the comings, goings and social engagements of Pinehurst’s “Cottage Colony” residents were a staple of the Pinehurst Outlook’s reportage throughout the paper’s existence. It was no different simply because the Ryder Cup was coming to town. A week before the golfers arrived the Outlook reported that Mrs. Thomas B. Lockwood, whose primary residence was Buffalo, New York, would be arriving in Pinehurst “to open her cottage, ‘Holly Hill,’ on Midland Road.”

Mildred Lockwood was a widow. Her second husband, Thomas Lockwood, a Buffalo attorney, banker, politician and philanthropist, had passed away in 1947. She acquired Holly Hill, a house bordering the fifth hole of the No. 2 course, in 1949, and it became her lodging during Pinehurst’s so-called “winter season” of November to May. She was a member of the Silver Foils, Pinehurst’s longstanding women’s golf society.

Lacey and Lockwood would marry 14 months after the Ryder Cup. Nothing reported then or thereafter disclosed the circumstances by which the couple met. If their mutual attraction began the week of the matches — or the North and South Open, held in Pinehurst the following week — both kept mum about it.

The 1951 cup matches were a truncated affair compared to the modern Ryder Cup. The teams played 12 matches in two days of competition. The first day involved four foursomes matches. The second day featured eight singles matches. In a head-scratching schedule that would be unimaginable today, the Ryder Cup took a break on Saturday. Both teams were encouraged to attend a college football game in Chapel Hill between the University of North Carolina and the Tennessee Volunteers. London Sunday Times journalist Henry Longhurst was among those who joined the GB&I players in the Kenan Stadium press box. “I simply don’t understand what is going on,” Longhurst wrote. “All I know is that I am doing OK as long as I holler, ‘To hell with Tennessee.’” The Vols blew out the Tarheels 27-0. The American captain, Snead, was not among those attending the game. He picked up a few bucks elsewhere giving an exhibition instead.

Results from the foursomes matches on Friday suggested Lacey’s dream of an upset was just that, a dream. The U.S. won three of the four matches. The teams of Hogan-Demaret and Snead-Mangrum both won 5 and 4. The lone GB&I win, by Arthur Lees and Charlie Ward, prevented a shutout.

When the matches resumed on Sunday it was more of the same, except worse for GB&I. The U.S. won six of the eight matches, mostly by lopsided margins. The only British winner was Lees, who bested Porky Oliver. The final tally was U.S. 9 1/2 to  GB&I’s 2 1/2.

During Sunday’s “Victory Dinner” at Pinehurst Country Club, Lacey presented a silver pitcher to Bob Hudson and a silver cigarette case to Richard Tufts in appreciation of their unstinting efforts in making the British team’s visit enjoyable. Regarding the outcome, the handsome, graying Lacey simply stated, “We were beaten on merit.”

Tufts had arranged for the North and South Open to immediately follow the Ryder Cup, assuming that since the members of both teams were already in town, they would certainly want to stay to compete in the prestigious tournament. That proved true for the British team, but not so much the Americans. The PGA had recently set a minimum prize money floor of $10,000 for tournaments. Tufts balked at complying with this edict. Hogan, Demaret, Mangrum and Burke declined to enter the North and South. Several who did stay, including Snead, failed to hide their dissatisfaction. In what was perceived as a quasi-boycott, four American team members withdrew subsequent to the first round. Only one, Henry Ransom, played all 72 holes. Miffed by the behavior of the American players, Richard Tufts would discontinue the N&S, ending its storied 50-year run.

By contrast, each of the British team members played in Tufts’ tournament, as did their captain, who made the cut and played all four rounds. Following the tournament, the members of the GB&I team sailed back to England but Lacey would soon return. In July, 1952 Britain’s Golf Monthly magazine reported that Lacey had left the position he’d held for 18 years as golf professional at Ascot’s Berkshire Golf Club and was moving to America.

On Jan. 27, 1953, Mildred Lockwood and Arthur Lacey were married at the First Presbyterian Church in Reno, Nevada. According to the Outlook, after two weeks in California, “Mr. and Mrs. Lacey will be at their home on Midland Road here until the middle of May, when they will open their residence in Buffalo, for three months, later sailing for a sojourn in the British Isles.”

That itinerary foreshadowed the couple’s peripatetic travels throughout their 26 years together. Typical was their six-month trip around the world in 1955. Sailing from San Francisco, the Laceys visited Japan, Hong Kong, Thailand, Singapore, Indonesia, the wilds of Africa, the Holy Land, Turkey, Greece and England.

In their wanderings, they rubbed elbows with the rich, famous and royal. The Earl and Countess of Carrick joined them for a three-week fishing trip in Boca Grande, Florida. While visiting the low countries, Lacey played rounds with King Leopold of Belgium. Though his competitive form was waning, Lacey would occasionally work in a tournament or two during his European excursions.

Despite prolonged absences from Pinehurst and her hometown of Buffalo, Mildred Lacey engaged in an astonishing array of charitable endeavors in both locales. She was a major benefactor of the University at Buffalo. After purchasing poet Robert Graves’ original manuscripts, she donated the collection to the university’s Lockwood Memorial Library, named to honor Mrs. Lacey’s previous husband, who endowed its construction.

In Buffalo, she served as president of the Ingleside Home for unmarried mothers; chairman of the Building Committee and Fund Raising for the community’s YWCA; a member of the board of directors for two hospitals; the first female member of the Buffalo Chamber of Commerce; and the organizer and president of the Buffalo and Erie County Chapter of Infantile Paralysis. Eliminating polio was a matter of special interest to her. Her brother, Dr. Thomas Francis Jr., designed, supervised, and analyzed the field trials that validated the use of Jonas Salk’s life-saving vaccine.

Mrs. Lacey was equally active in Pinehurst. Her list of services to the community included: member of the board of directors of The Village Chapel; treasurer of the Sandhills Woman’s Exchange; secretary of the Women’s Auxiliary of Moore Memorial Hospital; and president of the Silver Foils golfing society. She worked with the Open Door Nursery School and Child Care Center in Taylortown, helping to start the charity, raising the money to sustain it, and serving as its chairman for 15 years. Today the Wyatt School Age Program in Taylortown continues the work she began.

Arthur Lacey joined The Tin Whistles, after the society tweaked its by-laws to allow dues-paying pros to enter most of its tournaments. For her part, “Queenie,” as Mildred was known by friends, was a high handicapper who participated enthusiastically in Silver Foils’ weekly competitions. In Feb. 1958, she and her husband teamed up in the Silver Foils Mixed Fourball Tournament. The Laceys tied for first before losing in a playoff.

Just over a month later, Lacey, then 53, drove to Augusta National Golf Club, where he had agreed to be a rules official for the 1958 Masters. His service in that capacity was uneventful until the late stages of the final round. He was stationed at the par-3 12th when the pairing of Arnold Palmer and Ken Venturi arrived on the tee. Palmer — who would go on to win the first major title of his illustrious career — led the field with Venturi hot on his heels, one stroke behind.

Both Venturi and Palmer struck their iron shots a bit too far, their balls landing beyond the putting surface. Venturi’s ball spun back onto the green. According to legendary golf writer Herbert Warren Wind, who was on-site, “Palmer’s ball struck low on the bank about a foot or so below the bottom rim of a back-side trap and embedded itself. It had rained heavily during the night and early morning, and parts of the course were soggy.”

When Palmer reached his ball, he called Lacey over and asked for relief from his embedded ball lie. Lacey denied the request, informing Palmer he would need to play the ball as it lay. To some, Lacey’s ruling and the dramatic — and still swirling — controversy it precipitated, would overshadow his substantial accomplishments in the game.

Under the USGA’s Rules of Golf at the time, there was no provision granting a player relief for an embedded ball. However, Augusta National could put in place a “wet weather” local rule that would allow such relief in inclement weather. Given Sunday’s rainy conditions, Augusta National had adopted such a temporary rule for that day’s play. Its precise wording is unknown. However, in a Golf World magazine article following the Masters, it was reported that this wet weather rule provided for embedded ball relief “through the green,” meaning virtually everywhere on the golf course except hazards, bunkers, and tees and greens of the hole being played.

Given the local rule, what basis did Lacey have for denying Palmer relief? There are differing accounts of his rationale. Venturi, who overheard at least part of the conversation between Lacey and Palmer, wrote in his 2004 autobiography, Getting Up & Down, that Lacey told Palmer his ball was, “not embedded. It’s only half-embedded.”

Years after the ruling, Lacey would relate a different explanation in a discussion with writer Al Barkow. The veteran golf journalist wrote that under the rule handed down by the Masters committee early Sunday morning, “Lacey was given to understand (rightly or wrongly) that a player would be allowed a free lift from an embedded lie only if his ball was on the green or fairways.” Palmer’s ball was neither.

That was merely the beginning of the debacle. More instances of “he said, he didn’t say” followed regarding whether Palmer used proper procedure in deciding to play a “second ball.” In situations like the one Palmer faced, a player could opt to play a second ball along with the first, then have the tournament committee decide which ball should count as his score. To do so, the rule stated that a competitor “must” declare his intention to play a second ball prior to playing the first ball. The competitor was further required to announce which ball he wished to count for his score. Furthermore, he was supposed to play both balls “at the same time” until both were holed.

Palmer would later say he advised Lacey of his intention to play a “provisional ball” (technically he should have said “second ball”) before proceeding. Venturi emphatically denied this occurred.

Palmer then played the embedded ball and did not recover well, finishing the hole with a double-bogey 5. He returned to the spot where his tee shot had embedded to play a second ball, and took a drop. From a much better lie, Palmer chipped close and holed his putt for what he hoped was a 3.

Venturi was visibly upset. He told Palmer he could not invoke the rule because of his alleged failure to declare a second ball before hitting his first one. “Suppose,” Venturi bristled, “you had chipped in with the other ball. Would you still be playing a second?” Palmer replied he had followed proper procedure.

But did it really matter whether Palmer verbalized his intention to play a second ball before hitting his first one? Rule 11(5) then stated, “Should the competitor fail to announce in advance his procedure or selection, his score with the second ball shall be his score for the hole if played in accordance with the rules.” This provision, as written, appears to excuse a player’s failure to announce his intentions. The sloppily written rule (later changed) seemingly permitted the “two bites of the apple” scenario advanced by Venturi.

So did Palmer have a 5 on the 12th or a 3? A 5 meant he was now a shot behind Venturi, who parred the hole. With a 3, Palmer would remain one shot ahead. The two would be uncertain how they stood until the Masters Tournament Committee reviewed the situation.

Venturi believed this muddled situation may have led Palmer to play the par-5 13th more aggressively than he might have otherwise. Venturi laid up short of the water hazard fronting the green. Palmer, after initially pulling an iron, returned it to his bag, pulled out a wood and struck a sensational shot onto the green, then holed the putt for an eagle. Venturi birdied. That would make Palmer either two strokes ahead of Venturi or even with him, depending on the committee’s ruling.

While the leaders were playing 14, they were informed that the committee had decided in favor of Palmer. An incensed and rattled Venturi imploded. He 3-putted three of the final four holes and faded to fourth. Palmer hung on for a one-stroke victory over Doug Ford and Fred Hawkins, capturing his first green jacket.

After signing his scorecard, Venturi sought out Clifford Roberts, Augusta National’s chairman, to complain that Palmer had broken Rule 11 by failing to timely announce his intention to play a second ball. “I was wasting my breath,” Venturi wrote in his book. But not wanting to take no for an answer, he asked that Roberts bring in Lacey. “Only one problem,” wrote the exasperated Venturi. “Lacey, I was told, had already left the golf course, and there was no way to track him down. There were no cellphones in 1958. A pretty quick exit from the premises, don’t you think? I certainly don’t have any evidence that Mr. Roberts, anxious to avoid controversy, made sure Lacey got off the grounds in a hurry, but it sure looks fishy.”

So Lacey became something of a fall guy in this strange episode. He, according to the tournament committee (apparently Bobby Jones and Roberts), had made an incorrect decision. But no matter; all’s well that ends well. Palmer, an extremely popular winner, had addressed Lacey’s mistake appropriately, and there was nothing more to be said.

Golf writer Guy Yocom admits to a fascination regarding the brouhaha. He maintains that regardless of how much one studies the available evidence, certainty regarding what actually happened is elusive.

Yocom feels Lacey may have gotten a bad rap. “There is a possible distinction to be made between the traditional application of ‘through the green,’ and how Augusta National applied its rule,” Yocom says. “Why would Lacey, a man with decades of golf experience at the highest level, claim the rule applied to fairways and greens only, if it wasn’t so? Officials don’t just make this stuff up.” And if Lacey made a mistake, why didn’t he acknowledge it to Barkow? “There’s no shame in admitting it,” says Yocom, “because officials make mistakes all the time.”

It’s possible, Yocom believes, that when rules officials were briefed on the local rule Sunday morning, they might have been orally instructed to construe the phrase “through the green” as applying only to balls embedded in fairways and greens, notwithstanding that phrase’s more expansive defined meaning in the Rules of Golf. That scenario would be consistent with what Lacey told Barkow.

Over the years, the dispute drifted away from public consciousness until Venturi rekindled it with his 2004 book. Lacey’s actions were criticized anew. Venturi and Palmer were still around, and the book reopened scars for both men. The sensitive Venturi was accused of exhibiting sour grapes. Writers asked why Venturi had signed Palmer’s scorecard if he felt the ruling was wrong. Other pundits interpreted Venturi’s account as an accusation of cheating on Palmer’s part. Venturi vehemently denied this. And Palmer, viewed by the golf world as a paragon of golf ethics, was hurt by any suggestion he had won his first major by skirting the rules.

When Lacey died in 1979 while working in his garden, no one in Pinehurst appears to have given thought to the Masters controversy. Locals who knew him recalled other things about him. Lacey’s neighbor and friend, Pilot columnist Evelyn de Nissoff, remembered him as a man of “pleasant personality” and “quiet humor.” She had purchased Lacey’s treasured yellow Renault, which he had brought over from England. When encountering her at the post office, Lacey would invariably inquire, “How is the Renault working out?”

From all that is known, Lacey did not appear to have been overly anguished by what happened in the 1958 Masters. If he dwelled on it at all, he kept, as the Brits say, a stiff upper lip. And though his team may have been trounced in the ’51 Ryder Cup, Lacey managed to find the storybook ending anyway.

Lucky No. 7

LUCKY NO. 7

Lucky No. 7

A future custom-built for family

By Jenna Biter 
Photographs by John Gessner

A checkerboard of grass and pavers leads to the glass-paneled double doors of Charles and Amy Crabtree’s white brick home. “Sebastian, come on, buddy,” says Amy, opening the doors. The 12-year-old miniature schnauzer skates across the wide oak planks running the length of the entry hall. To the right is a blue study lined with books and sports memorabilia. To the left is a music room showcasing a K. Kawai baby grand and a commissioned painting of Charlie Brown and Snoopy.

“This is how it’s supposed to be — I can see through the house,” Amy says, looking from the front doors all the way to sliding glass doors at the back.

The Crabtrees retired to their custom build overlooking Donald Ross’ masterpiece in 2020 after splitting time between Palm Beach Gardens, Florida, and Bethany Beach, Delaware. The Holly Inn in Pinehurst would often be the couple’s stopover on road trips back and forth. The village charmed them off their feet and eventually out of their far-flung homes. “We sold both homes within a two-month period,” says Charles.

Pinehurst was the draw, but family was the clincher. Once the Crabtrees’ daughter, Courtney, moved to North Carolina and had their first grandchild, the future was set. “It was an easy decision,” says Amy. Now Courtney and her brother, Chase, both live in the Forest Creek community with their families. “We have our four grandchildren here, and they’re just a five-minute ride away,” Charles says.

Down the entry hallway, past a bellowing grandfather clock shipped to the States from Germany, the house opens up. A slate-blue built-in displays family photos beside one of the home’s five fireplaces. This one is in the living room. There’s another through the sliding glass doors in the outdoor dining room, which overlooks the wide landing, a grandkid-approved infinity swimming pool and ultimately the golf course fairway.

“We were on our last day looking for property, and we had kind of exhausted everything,” Charles says. “We thought, maybe this isn’t going to work, and then all of a sudden, the Realtor said, ‘These wooded lots here — I think one of them — we might be able to talk to someone to see if they’re interested in selling.’”

“We asked, ‘Well, where is it?’ They said, ‘This is No. 2.’”

They bought the .89-acre wooded lot and Huntley Design Build got to work combining favorite elements of their previous homes into one 6,850-square-foot dream build. It was the COVID era, but fortunately for the Crabtrees, their building materials had already been delivered, so construction wasn’t delayed by the supply chain crisis. “From the time we moved the first tree off the lot, which was July, 2019, to the time we were in the home on June, 2020 . . . ” Charles says.

“Eleven months start to finish,” says Amy, completing the thought.

Back inside the living room, turn in one direction to enter the Crabtrees’ personal sports bar with pine wood from the lot lining the ceiling and a wine cellar that holds up to 1,500 bottles. There’s a golf simulator, neon Putter Boy sign paying homage to the Pinehurst Resort and two signed, limited edition prints by sports artist LeRoy Neiman, one of Jack Nicklaus and the other of Cal Ripken Jr. breaking Lou Gehrig’s record for playing the most consecutive games in Major League Baseball. Turn the other way, and you’re in the dining room and kitchen. A long table seats 10, enough to fit the Crabtree family, grandkids and all. “We try to do a Sunday dinner, or some sort of event, once a week if we can,” Amy says.

The upstairs is home to three guest en suites, a gym and a bunkroom for the grandkids. “When they come over, this is where they hang out,” Charles says. There are two sets of bunk beds, a cushy sectional and TV, and plenty of floor space to play. “They’ll be up here having a big old time, all four of them, and then when we come up after they leave, it’s a complete disaster,” he says affectionately, like only a grandfather can.

The Crabtrees themselves don’t spend much time upstairs, only to play with the grandkids, work out or if they need to fix something. “Between the master and the kitchen and this room, everything is right here,” Amy says, sitting at the bar top. It’s as if they built an apartment within a house, enabling maximal time together.

They drink early morning mugs of coffee in the master bedroom and slip out a side door to the hot tub. When they play golf it’s as a couple, and they’re even together in the art on their walls. Mixed-media collages by British artist Tom Butler dot the house, and if you look closely the likeness of Charles and Amy can be seen in many of them. “We said we’re retiring early, and when we retire early, we’re going to be together,” Charles says. Here they are in front of the Eiffel Tower. There they are in New York. It’s a personalized Where’s Waldo. The only thing missing is Sebastian the miniature schnauzer, who has yet to make a cameo.

Backyard Breaks

BACKYARD BREAKS

Backyard Breaks

A miniature Himalayas at home

By Jenna Biter     Photographs by John Gessner

In the neighborhood of Pinehurst No. 9, Bob and Maria Milligans’ white stucco house lounges near the back of a lot shaded by mature pines, oaks and flowering dogwoods. Rhododendrons, hydrangeas, azaleas, camellias — the front yard is a gardener’s dream. The backyard is a golfer’s paradise.

“I love to play golf, so you’ll notice we’re walking from the patio to my . . .” Bob motions with his hands like he’s unveiling the grand prize on a game show “. . . putting green.”

This mini-Thistle Dhu, or micro-Himalayas, was fashioned from a seamless 20-by-20 piece of artificial turf, molded for a natural roll and sped up with hundreds of pounds of sand worked into the surface. There are three cups to aim at and enough contour to keep a tour pro scratching his head. “Sometimes it breaks left, sometimes it breaks right,” says Bob. The longest putt is roughly 15 feet.

McNeill’s Landscaping Services of Aberdeen installed the green when they overhauled the Milligans’ backyard in 2025. Upgrades included a rock garden, patio and walking paths, the continuation of a retaining wall, and in addition to the green, the replacement of the yard’s grass with turf. “I can’t stress enough how good of a job McNeill’s Landscaping did,” says Bob, surveying his domain. The backyard’s facelift was the final step in a home makeover that began just after the Milligans purchased the home in 2021.

“This is our Florida . . . I guess you call it a Carolina Room here,” Milligan says. The outdoor living space is situated on a deck they converted from a split-level to a single tier in 2022. Later they installed a pergola with remote control-operated louvres that can divert the sun any time of day and even keep out the rain. Four or five seating arrangements spill off the deck and into the backyard, ready to accommodate the Milligans’ frequent entertaining. A teakwood dining table seats 14. There are two gas-powered fire pits, plus a grill. “It’s the only thing he’s good at besides golf,” says Maria, grinning.

“We love to have more than just two or three friends over,” she says. They regularly commune with a group of six couples, the self-proclaimed “dirty dozen.” “Our new friends all love to come here because they can just chill, unwind and open a few bottles of good wine,” says Maria. “It’s relaxing.”

Dark blue cushions, pillows and pots finish the backyard. It’s a fitting color for a Navy family. Bob served 27 years in uniform before retiring as a captain in 1999. After their first life moving around the country, overseas and on the seas, followed by a second life in northern Virginia, the Milligans finally settled in Pinehurst. Their home sits across the street from the fairway of the fifth hole of No. 9, the Jack Nicklaus-designed course originally known as Pinehurst National.

“It was fate,” says Maria. Friends were moving to the area and the Milligans traveled south for a visit. “I walked into a shop, and the owner gave a hello-how-are-you,” says Maria, still dumbfounded. “I don’t get that in northern Virginia.”

Pretty soon the Milligans were searching for their own place in Pinehurst. “It took us three months,” says Maria. They liked the floor plan of their now-home and could see the property’s potential. “We could make it our own,” she says.

The Milligans moved into the nearly 4,000-square-foot house in 2021 and immediately got to work updating bathrooms and the kitchen, painting from top to bottom, essentially redoing everything indoors except for the layout. Then they shifted their focus outdoors.

“It was overgrown. It looked more like a jungle than anything else,” says Bob. “The backyard was nothing but pine needles, so it wasn’t really usable.” They hacked, trimmed, shaped and reshaped the potential they saw into reality. Thirteen trees were removed, so the surviving stand could flourish. They left the sprawling azaleas untouched.

“I love flowers. I want flowers,” Maria says. “I have these gorgeous azaleas throughout, I have rhododendrons, I have camelias, I have jasmine, roses, gardenias.” Whites, reds and pinks color the scene. “During the spring, this place is unbelievable as far as the color goes,” Bob says. Plus the Milligans’ home is just under a mile from the clubhouse. “Why do you think we moved down here?” Maria teases as Bob cracks a smile.

“The people I play with say that I have an advantage over them,” he says, eyeing the backyard’s crown jewel. A golfer-gnome watches the emerald turf from his home in a garden bed, lanterns illuminate the playing surface for after-hours practice and a pair of loungers offer respite to tired putters. “They’re older, I keep reminding them, so they putt and they sit,” says Maria.

Pathways puzzled together from geometric pavers circulate guests to and from the main attraction, and a golf-themed bird bath completes the scene. The yard’s full of robins, blue jays, woodpeckers and hummingbirds, especially when the flowers are out. It’s nearly a private aviary. “You can barely see our neighbors through the trees. You can’t see our neighbors at the back. We love it here because we’re in the community, but we can also get up early in the morning, have a cup of coffee on the deck and not worry about golfers.”

Unless they’re playing at Milligans National.

Celebrating Poetry

CELEBRATING POETRY

Celebrating Poetry

Spurred on by the success of Black History Month and Women’s History Month, the American Academy of Poets organized the first National Poetry Month in April 1996. Over its 30 years of existence, it has grown into the largest literary celebration in the world, involving readers, students, teachers, librarians, booksellers, publishers, events and, oh yes, the occasional poet. It’s possible to sign up to receive a “Poem-a-Day” in your inbox (curated by Dorianne Lux), request a National Poetry Month poster, encourage participation in the “Dear Poet” project for students in grades five through 12, and consult a “Poetry Near You” calendar. To quote Emily Dickenson, “If I feel physically as if the top of my head were taken off, I know that is poetry.” You may feel free to lose your head every month of the year, but April
is a good place to start.

I first read Naomi Shihab Nye’s poetry in the mid-1990s. I quickly became a fan of her work, and “Valentine for Ernest Mann” has long been one of my favorites. The quirkiness of the first stanza — the idea of ordering a poem like ordering a taco — made me smile and want to read on. Then in the second stanza comes the kindness and generosity that shine through all her work. Instead of dismissing this rather audacious request (which was an actual demand from a middle school student), Naomi leads him, and us, into an exploration of how we too can find our own poems. “What we have to do/is live in a way that lets us find them.” She reminds us that we all have poetry in us, if we are attentive to the small meaningful moments in our lives. She doesn’t lecture us about it; instead, she gives us that wonderful example of the man who saw skunks as beautiful, and her images make them beautiful too. Her gentle and genuine words make us realize there is beauty everywhere if we are open to seeing it.

This poem has stuck with me over the years. When I was teaching both children and adults, I would share it to encourage students to make lists of where they could find their own poems. When I was writing my first book of poetry I came back to the line “Maybe if we re-invent whatever our lives give us/we find poems” and realized that was exactly what I was doing. Naomi’s work shows us that poetry is a way of accessing our true feelings, be they of beauty or wonder or moving through difficult times. Born to an American mother and Palestinian father, Naomi Shihab Nye captures in her poetry the humanity that connects us all. She has spent over 40 years traveling the world leading poetry workshops with both children and adults that spread that humanitarian spirit. I am grateful for her presence through poetry.   

    — Joanne Durham

Valentine for Ernest Mann

By Naomi Shihab Nye

You can’t order a poem like you order a taco.
Walk up to the counter, say, “I’ll take two”
and expect it to be handed back to you
on a shiny plate.

Still, I like your spirit.
Anyone who says, “Here’s my address,
write me a poem,” deserves something in reply.
So I’ll tell a secret instead:
poems hide. In the bottoms of our shoes,
they are sleeping. They are the shadows
drifting across our ceilings the moment 
before we wake up. What we have to do
is live in a way that lets us find them.

Once I knew a man who gave his wife
two skunks for a valentine.
He couldn’t understand why she was crying.
“I thought they had such beautiful eyes.”
And he was serious. He was a serious man
who lived in a serious way. Nothing was ugly
just because the world said so. He really
liked those skunks. So, he re-invented them
as valentines and they became beautiful.
At least, to him. And the poems that had been hiding
in the eyes of skunks for centuries 
crawled out and curled up at his feet.

Maybe if we re-invent whatever our lives give us
we find poems. Check your garage, the odd sock
in your drawer, the person you almost like, but not quite.
And let me know.

From Red Suitcase, by Naomi Shihab Nye. Copyright 1994 Naomi Shihab Nye. Used by permission of the author.

I’m sure I had read persona poems before I encountered Gabrielle Calvocoressi’s debut collection, but certainly none had struck me the way this one did. The excerpt I’ve selected is the last of 10 sections in the poem, which is also the title of the book. Each section is written from the poet’s imagined first-person perspective of an individual who was touched by Amelia Earhart’s final flight and disappearance, beginning with an ordinary bystander in section I all the way to her husband in section X. The facts of Earhart’s story (which I vividly remember learning in elementary school) are compelling enough. But when Calvocoressi filters them through the eyes of carefully curated characters — some who knew her personally and some who didn’t — those facts simultaneously gain dimension and become more intimately human. I had been under the impression that contemporary poetry was generally supposed to derive from personal experience, influenced on occasion by outside research. Reading The Last Time I Saw Amelia Earhart and the other suites of persona poems in this book allowed me to see just how a poet could use their imagination in service of their work, bringing fictional narrative into lyrical verse and giving the reader an even deeper insight into something we thought we already knew. Though it’s taken me years to come around to it, it’s given me permission to do the same.

— Morrow Dowdle

The Last Time I Saw Amelia Earhart

(An Excerpt)

By Gabrielle Calvocoressi

X. George Putnam, husband

Afterwards she was everywhere:

a map in the glove compartment,

shoes on the stairs, her wedding ring

on the bathroom sink. I found

her house keys by the phone

and wondered how she’d get back

inside. Of course I wasn’t the only

one: everybody thought they’d seen

her, especially children

who wondered if she was hiding

from me. One girl wrote,

When my father yells

I hide in the barn. Do you have a barn?

The last time I saw Amelia Earhart

she was three steps ahead of me,

crossing to the other side

of the street. I almost died trying

to reach her, called her name

over the traffic and when she turned back

it was a young man, startled

by my grasping hand, saying sorry

but I was mistaken. Then she was gone;

clothes sent, car sold, nothing left

to look for. Except airplanes

where are everywhere now

and take me back to her, turning

away from our expectant faces.

Excerpt from The Last Time I Saw Amelia Earhart by Gabrielle
Calvocoressi, Persea Books, 2005.

I am a graduate of SUNY Brockport, where I chose to continue my study of reading and writing poetry after finding my way to it in community college. As it happened, two poets who’d become, for me, extremely important influences, preceded me at Brockport, Michael Waters and Li-Young Lee. Style-wise, these are different poets entirely, except for the attention to poetic craft and texture both bring to their work.

The recipient of many awards and honors, Li-Young’s backstory is as extraordinary as his poetry. He was born in 1957 in Jakarta, Indonesia, to Chinese parents, and his father had been a personal physician to Mao Zedong while in China.  

Eating Together is a poem in which his father figures prominently, and the poem’s title presents us with an irony. That is, the family is not together as the recently deceased father is absent.

Rooted in Confucian principles of respect, it is a common and traditional practice in Chinese culture for the head of the household (often the father or the eldest member) to be honored with the head of the fish. Therefore, this is a poem of transition. The mother now assumes the father’s role as head of the family and is afforded that respect.

Like so much of Lee’s poetry, this selection is notable for its quiet tone and sensory texture. Grief is in the poem, of course, but the fact need not be uttered. Instead, the reader is provided a closure of beauty and, at its core, an extraordinary simile. The dead father is compared to a snow-covered road in a pine forest, and we understand that here, death is blessed relief, as he is “lonely for no one.”

— John Hoppenthaler

Eating Together

By Li-Young Lee

In the steamer is the trout   

seasoned with slivers of ginger,

two sprigs of green onion, and sesame oil.   

We shall eat it with rice for lunch,   

brothers, sister, my mother who will   

taste the sweetest meat of the head,   

holding it between her fingers   

deftly, the way my father did   

weeks ago. Then he lay down   

to sleep like a snow-covered road   

winding through pines older than him,   

without any travelers, and lonely for no one.

This poem, from the volume In the Lateness of the World, eloquently speaks to the work of witness both externally and internally. “Early Confession” resonates with my own work as a documentary poet whose work also questions and engages in the interior domains of political, social and personal struggle. Carolyn Forché has always evoked and amplified beauty in the difficult and often traumatic everydayness and ordinariness of life, mirroring ourselves in the webs of each other’s experiences and humanity. I’ve never known how to walk away from suffering, and I too have asked, what might my path have been if I had not chosen this path? What if I had lain down in the drifts to finish a dream? The pastoral imagery and metaphors create a wisp of a trailing scent; an invocation, or a lamentation for life, death, consciousness, and our intimate lives. “Early Confession” is an invitation to seek clarity, declare purpose, and assume agency both given and liberated. This poem is an affirmation for my ethic of wonder and need to focus my creative intentions and resolutions on the wonders and realities of the world. Forché has always written poetry that returns us over and over again to how to purposefully witness wonder and humility as wholesome emotions that will never exist with destruction. “Early Confession” reawakens a primal portal for becoming receptive to what lies around us in our communities that are inherently worth preserving and protecting. The poem draws me personally to bear witness to my own self-cultivation for learning how to fully inhabit the path that I’ve chosen and that chooses me back. I am grateful for the vast landscape this singular poem constructs, reminding the reader to forge new connections with the self that guide us to inhabit and forge new connections on the path, guiding our sense of wonderment outward toward full radical amazement.

          — Jaki Shelton Green

Early Confession

By Carolyn Forché

If I had never walked the snow fields, heard the iced birch,

leant against wind hard toward distant houses, ever distant,

wind in the coat, snow over the boot tops, supper fires

in windows far across the stubby farms, none of them

my house until the end, the last, and late, always late, despite how early

I’d set off wearing gloves of glass, a coat standing up by itself.

If I had never reached the house, but instead lain down in the drifts

to finish a dream, if I had finished, would I have

reached the rest of my life, here, now, with you whispering:

must not sleep, not rest, must not take flight, must wake.

When I was at NC State in the late 1960s, Guy Owen was already a legend. The journal he founded and edited, the Southern Poetry Review, was well-established. His second novel, The Ballad of the Flim-Flam Man, had been made into a movie. His collection of poetry, The White Stallion and Other Poems, won the Roanoke-Chowan award. There wasn’t much he hadn’t done or wasn’t doing. At the time there was an active revolt against traditional forms, against poetry for the ear. I felt that revolutionary spirit too. But having had a grandmother who would, at the drop of a hat, recite verse, I wanted the sounds, the music, as well. When I read Owen’s poem, I was taken by how different it was than the early 20th century verse my grandmother loved and how different from the writings of the Beats that so attracted young poets like me in the late 1960s. The poem is so full of sound and surprise. In just 16 lines, it manages to be psychologically complex and simple, dream-like and real, innocent and wise, showing tension between father and son. Although I was a computer science major who had failed introductory English (I am a terrible speller), Guy talked with me a little and was kind. Not long after, I published the longest poem ever in the student literary journal, the Windhover. (Someone else checked and corrected my spelling). Guy remembered that. A few years later at the first North Carolina Writers Conference I attended, he remembered me in the best way; he invited me to share his whiskey. We talked about poetry. I mostly listened. The horse, he admitted, had been black, but at the Bread Loaf Writers’ Conference the editor of Poetry told him that if the horse was white as a ghost or as dawn it would be a better poem and would be published in his respected journal. It was published in Poetry as “The White Horse.” Somewhere along the way, the horse now white became a stallion. I learned a lot about how small revisions and particular details can greatly improve a poem. Today, 20 years older than Guy was when he died in 1981, I return to “The White Stallion.” It seems to me a masterpiece. So accessible and so mysterious. I can hear Guy talk about it again. I can taste his whiskey. Jack Daniel’s, since you asked. — Paul Jones

The White Stallion

By Guy Owen

A white horse came to our farm once

Leaping, like dawn, the backyard fence.

In dreams I heard his shadow fall

Across my bed. A miracle,

I woke up beneath his mane’s surprise;

I saw my face within his eyes.

The dew ran down his nose and fell

Upon the bleeding window quince. . . .

But long before I broke the spell

My father’s curses sped him on,

Four flashing hoofs that bruised the lawn.

And as I stumbled into dawn

I saw him scorn a final hedge,

I heard his pride upon the bridge,

Then through the wakened yard I went

To read the rage the stallion spent.

I once had a poetry teacher who said try and write lines so good someone will want to have them tattooed on their body. Quite a goal, indeed, but Joe Mills’ poems are full of such lines.

I could have picked a dozen of his poems but I chose Savings from his collection, This Miraculous Turning, which won the 2015 Roanoke-Chowan Award for Poetry. I’m a huge fan of what I think of as the classic Mills’ poem: accessible, personal, often funny and about family, with an ending that kicks you in the gut but also somehow lifts you up. Mills is the author of seven poetry collections and a professor at the University of North Carolina School of the Arts, where he holds the Susan Burress Wall Distinguished Professorship in the Humanities. While his poems are smart, they are not the sort of poems that feel like a puzzle to be solved. Not that that means they are “easy.” You do have to do some work, but his poems pull you in and share something about his life that also feels universal.

One of the things that strikes me first about Savings is the conversational tone. It starts off with a narrator telling you a simple story of setting the clocks back for daylight saving, but it can’t just be about that, can it?  By the second stanza, it’s becoming more personal as the poet brings in the scale and his wife’s blood pressure pills. The third and final stanza really gets to what the poem is about — family and how we want to hold on for as long as we can, whether it’s for an aging parent, a spouse, or in this case, your children. I have a friend who, upon reading a book he really enjoyed, throws the book across the room. Perhaps as a sign of respect, or awe, or I wish I’d written that. Whenever I read a Joe Mills book, I throw it good and hard across the room. But not too far, because I know I’ll soon want to pick it up and read more of his lovely poems.

          — Steve Cushman

Savings

By Joe Mills

Last night we set the clocks back

gaining an extra hour to sleep

or drink or read, and I walked

through the house changing the time

in the coffee maker, the stove,

the VCR, the thermostat

then I went into the bathroom

to twist the dial on the scale

a few pounds lighter

and I moved the numbers down

on the blood pressure machine

so my wife wouldn’t need as many pills,

then to the children’s rooms

to erase the doorframe marks

and repencil them slightly lower,

not to the point we again would need

strollers or slings, just an inch or two,

to make these days last longer.

One of many things I love about reading poetry is seeing a poet’s thought process unfold as I read. How they move from wonder to thought to wonder. At the core of Taylor Johnson’s poetics seems to be making visible his thoughts, his concerns, and his loves. “Menace to” is such a great example of the Venn diagram of Taylor’s mind. The poem draws a diagram around the speaker’s enemies: money and plastic. On the other side of that diagram, comrades. As he does, Taylor complicates the speaker’s position. Wi-Fi is an enemy as well, allowing the speaker to reach out to those comrades. Thus, as the speaker states, “wifi is a money for me,” while Wi-Fi kills the houseplants. The speaker is aware of his complicity, as he states: “My enemy is distance growing dark, distance growing politely in my pocket as connection.” The Venn diagram becomes even more complicated as the enemy grows larger, into a drone that is literate, “well-read and precise and quiet,” yet is still connected to the “money” that opens the poem and the wifi in the second stanza. Taylor ends by turning the poem back on himself, the new computer, enemy as well, becomes a tool to destroy the enemy, to reach again, comrades. 

— Tyree Daye

Menace To

By Taylor Johnson

after June Jordan

Nightly my enemies feast on my comrades 
like maggots on money. Money being my enemy 
as plastic is my enemy. My enemy everywhere 
and in my home as wifi is 
a money for me to reach my comrades 
and kills my house plants. My enemy
is distance growing dark, distance growing 
politely in my pocket as connection. 
I must become something my enemies can’t eat, don’t have 
a word for yet, my enemies being literate as a drone is 
well-read and precise and quiet, as when I buy something 
such as a new computer with which to sing against my enemies, 
there is my enemy, silent and personal.

A Southern Pines Fairytale

A SOUTHERN PINES FAIRYTALE

A Southern Pines Fairytale

Whimsical blooms with an intoxicating scent

By Jason Harpster
Photographs by Paige Ramsey Moody

Fairies and fairytales hold a special allure in the hearts and minds of children and adults alike. We grow up enchanted by the possibilities of magic and often wonder if such possibilities are real. In Southern Pines, this question seems a bit less far-fetched. We are home to the world’s oldest longleaf pine tree and are known for our old-growth forest. What other towns have an annual festival celebrating a tree’s birthday? It seems only fitting that it should have a fairy named after it, too.

If fairies do exist, then their form surely would be fleeting and ethereal. Whether you call them woodland nymphs, pixies or sprites, one thing is certain: They are rare and special. Only the most fortunate may catch a glimpse. To capture one in a photograph, timing must be perfect. One such sprite has been seen, documented and officially confirmed by the Species Identification Task Force. No kidding.

When Dendrobium tipuliferum ‘Southern Pines Sprite’ was presented to American Orchid Society judging on Aug. 13, 2023, conditions were just right. Native to Fiji, this diminutive orchid is capable of blooming multiple times a year, producing flowers that are so delicate and ephemeral that they often go unnoticed. The whimsical blooms have an intoxicating watermelon fragrance. Like many other orchids, the more fragrant the bloom, the shorter its life. The flowers of Dendrobium tipuliferum last less than 24 hours, so it’s not entirely surprising that this was the first time this species had been exhibited for judging.

The plant received a Certificate of Horticultural Merit with a score of 86 points for its form, color, floriferousness and overall aesthetic appeal. The judges commented that the filamentous petals, serrated lip and brilliant yellow color were especially striking. The photos speak for themselves.

The clonal name ‘Southern Pines Sprite’ was chosen as the stellate flowers seem to wave and beckon you closer, just before hitting you with the magical watermelon fragrance. Since this was the first award ever granted to the species, one of the blooms had to be carefully dissected, measured and described for official verification by the Species Identification Task Force.

Some plants and flowers have anthropomorphic features that give them seemingly human qualities. Dracula flowers, or monkey-faced orchids, are one such example. Dendrobium tipuliferum is truly a special species as its flowers look like fairies gracefully dancing in the breeze. The flower chosen for the award photograph is especially cheerful as it looks like it is waving hello.

It seems the fairies in Southern Pines are rather friendly and have a propensity for making people smile.