Almanac

May

A flower blossoms for its own joy.

— Oscar Wilde

May is the daughter of dandelions, queen of the daisies, the giggling maiden of spring.

In a sunny meadow, where the soft grass glitters with morning dew, she is gathering wild violets, singing the blue into each petal.

One handful for candy.

Two handfuls for syrup.

A heaping third for tea.

She moves like water, stirring swallowtails and skippers as she drifts from flower to quivering flower. Constellations of buttercups manifest before her. A choir of bluebirds twitters in her wake.

Her gaze is tender. Her presence full. Everything she touches seems to blush.

The Southern magnolia offers its first fragrant blossom.

The tulip poplar blooms in boundless rapture.

An oxeye daisy sings out: She loves me. She loves me lots. She loves me. She loves me lots.

No flower is forsaken.

A sweep of dandelion brightens beneath her feet, yellow blossoms plump as field mice. There is nothing to do but bask in the playful light of spring.

As the maiden lowers herself onto the lush and golden earth, one hundred songbirds pipe her name. The mockingbird repeats it.

May is here! May is here!

All hail the giggling maiden of spring.

Flowers for Mama

Mother’s Day is celebrated on Sunday, May 8. Not that the garden would let you forget. (Read: Bring her flowers.)

Sometimes simple is best. A sprig of dogwood. A vase of bearded iris. A single magnolia blossom.

Or get creative. Wildflower bouquets. Pressed flower notecards. Wild violet jelly. 

If she’s the “roses only” type, you know what to do.

But if your mama’s busy scratching and clawing around in her own garden, perhaps you can glove up and join her.

Prune the hedges if she’ll let you.

Since May is the month to plant summer annuals, plant them together.

In July, when her prismatic zinnias are the crowning glory of the block, she’ll surely be a happy mama still.

The Night Sky

According to Smithsonian magazine, two of this year’s most “dazzling celestial events” happen this month: a meteor shower and a lunar eclipse.

If you haven’t yet downloaded an astronomy app, consider doing so before the Eta Aquariids peak on May 5. Why? So you can locate Aquarius, the faint yet richly fabled constellation on the Eastern horizon. If conditions are favorable, and you are, in fact, gazing toward that water-like configuration of stars, then you may catch up to 20 meteors per hour beginning around 4 a.m. What you’re actually seeing? Debris from Halley’s Comet, of course.

A total lunar eclipse will paint the moon blood-red in the wee hours of Monday, May 16. The moon begins entering Earth’s shadow on Sunday, May 15, around 9:30 p.m. Totality occurs around midnight when, for 84 glorious minutes, the moon will appear to glow like a sunset. Dazzling indeed.  PS

Poem

Pigeons

As the day star rises over a frozen field,

kissing the roofs of houses, the barren

limbs of pin oak trees and the long arm

of the church spire reaching toward the

wintry sky, I can’t help but think of the

rock pigeons we saw huddled wing-to-

wing early last evening, on two ropes of

electrical wire. We passed by them so

quickly, I only glimpsed these dozens of

dozing birds, though long enough to note

their cozy coexistence, their companion-

able willingness to keep each other warm.

Heads tucked into their necks, their chests

puffed like rising pastries, most slept but

a few, perhaps keeping watch, remained

vigilant. Like twin strings of black pearls,

they enhanced the beauty of the bright

firmament that would soon fold them into

its purpling light — their little bird hearts

beating as one through the cold, dark night.

— Terri Kirby Erickson

Terri Kirby Erickson’s most recent book of poetry is
A
Sun Inside My Chest.

Hot Trends

Spring
Forward

By Jason Oliver Nixon
and John Loecke

Green Goddess

Gardening has had a massive resurgence since the pandemic began, so formerly forlorn front yards are displaying a newfound floral bounty. Trees have been trimmed, flowers are blooming blowzily, and stone masons have been busily crafting patios and terraces. But how to connect the interiors of your home with its glorious exterior? Bring the timeless, fresh charms of garden-plucked green hues within — whether in the form of paint, wallpaper, fabrics or rugs. As John says, “If it works in your yard, it will work in your home. And there’s no more cool, soothing neutral hue than green.” Think paint colors such as Soft Fern from Benjamin Moore and Dirty Martini from Clare, and fabrics such as Swans Island in Meadow Green from Madcap Cottage.

Leafy Luxe 

Palmy, balmy interiors — inspired by a mix of the Beverly Hills hotel paired with a jigger of The Greenbrier and Palm Beach’s Colony Hotel — are bursting into bloom. Think traveler palms reaching hither and yon upon wallpaper and lemon trees scampering across sofas. Says Liz Vaughn, a guiding force at Winston’s iconic Gazebo women’s retailer, “Gorgeous palm leaves march across the library at my home and have created a timeless vibe that is one part Dorothy Draper and another part classic escape. Stepping into this room is like taking a mini vacation, no plane tickets required. The color and scale of the grand palm print wallpaper absolutely dazzles our guests.”

Remarkable Rattan

Rattan is finally getting its moment in the sun after seemingly falling out of favor for a blip — but never at Madcap Cottage! And the woven furnishings are not just making star turns on covered porches but also in living rooms and other public spaces. Notes Morgan Cooper, the owner of the glamorous Hive, in Winston-Salem, “Our clients are loving reinterpreted rattan that boasts a dash of unexpected whimsy and wonder. This is definitely not your grandmother’s rattan. And it might be going into a master bedroom or bathroom — not just a sun porch.”

Prince of Chintz 

The pendulum always shifts, n’est-ce pas, so should you really have kept those clothes from the 1970s that made you look like Holly Hobbie to use as so-called “nap” dresses now? Rewind to the 1980s. That decade’s go-to textile, chintz, is having a big resurgence, too. “It’s not the highly polished chintz that we remember from Mario Buatta in 1987,” says John. “And we adored Mario. But today’s chintz is a bit more relaxed, less polished, and with more negative space. Perfect for a sofa or an armchair.”

Think Pink 

“Pink is such a wonderfully flattering hue,” says John. “A pink-hued room will literally take 10 years off your face. And pink can be both feminine and masculine, so the shade can really work in any room of our home — from a living room to master bedroom or bathroom.” Our go-to pink shades include Pink Ground from Farrow and Ball, Rachel Pink from Sherwin-Williams, and Dead Salmon, also from Farrow and Ball. P.S. Our most favorite escape of late is stunning, pink-toned Manor House Room 23 at the amazing Duncraig Manor and Gardens in Southern Pines. Is it the pink walls that leave us feeling so refreshed?

Heavy Metal 

We love using metallic finishes in home design schemes. But don’t think that we are referring to the old adage that “brass and glass equals class.” Think layered. Aged. Patina. Notes John, “Why not embrace metallics on a ceiling to bring light into a room that lacks luster? We often wallpaper ceilings with metallic finishes, and that gentle sparkle really brings a space to life.” A favorite is The Lost City of Silver from Phillip Jeffries — just heaven.

Tried and True 

Noted Winston-Salem landscape architect Jeff Allen turns to classic, timeless garden elements to craft his magical, cooling sanctuaries. Here’s his garden go-to cheat sheet:

1. Boxwoods: versatile, beautiful and sculptural. These classic bushes provide shape and style to any garden and pair well with everything. They can be structural or architectural or can be used as an accent. With regard to the blight, there are varieties that are disease resistant, and there are treatments available.

2. Hydrangeas: dynamic, colorful and dramatic. You can’t go wrong with large sweeps of hydrangeas for dramatic color. Underplant with bulbs to extend the bloom seasonally.

3. Pachysandra: my favorite groundcover. Used liberally in our landscape designs, pachysandra provides continuity with our planting compositions.

Fabulous Follies 

Ah, the great outdoors! But where to kick back and relax and sip a cool sauvignon blanc whilst shaded in splendor? Follies are all the rage in England, and these whimsical garden ornaments are quickly spilling across the pond. Think whimsical temples adorned with columns and plenty of space upon which to toss back on a daybed with book and hooch. Turn to Haddonstone, the England-based cast-stone manufacturer, for whimsical creations that range from temples to pavilions, pergolas and more. Plus, Haddonstone has a U.S.-based arm, so that makes the logistical bits all that much easier.

RUIN_1

Make an Entrance 

As we all paused over the past two, gulp, years, we turned our attention to fixing up our homes and addressed areas that had perhaps been long overlooked. One such space that has been a focal point for our clients has been the foyer. Says Anne Rainey Rokahr, the charismatic owner of Winston-Salem’s Trouvaille Home, “The feeling one creates in the foyer sets the tone for the entire house and should therefore never be an afterthought and definitely not a family drop zone. Even if the rest of the house looks a little messy the foyer should always be pristine. And the foyer is the spot to go grand. Pair a spectacular chandelier (always on a dimmer), a one-of-a-kind chest, and a large mirror with a couple of yards of a fine fabric, and you’re on your way!”  PS

Jason Oliver Nixon and John Loecke are the duo behind Thomasville-based Madcap Cottage.

Almanac

April

By Ashley Walshe

April hath put a spirit of youth in everything.

— William Shakespeare

April is a child of wonder, lord of the mud pies, the crown prince of play.

Yesterday it rained so hard the earthworms learned to swim. Today, the peepers are peeping. The sun is out. The prince of play gathers the essentials:

Large wooden spoon? Check.

Mixing bowl and pie tins? Check, check.

Measuring cups? Don’t need them.

There’s a watering can full of rain on the back porch. Or, there was. The boy squishes across the yard, settles onto the floor of his squashy kingdom.

Mud sings as sweet as any muse. But you must know how to listen.

The boy closes his eyes, readjusts his flower crown and scoops up a wet heap of earth. He dabs a little on his face. He squelches his fingers through it. He digs into the mire with his toes.

Eureka!

This is what the mud said:

In a large mixing bowl, combine two parts squish and one part rainwater. Wriggle your toes as you stir, mixing until the first hummingbird graces the first bearded iris.

When the cottontail rabbits multiply, fold in a dash of wet grass and a fat pinch of redbud before transferring to pie tins.

As the robins pluck their breakfast from the lawn, top with generous layer of dandelion leaves.

Garnish with snakeskin, snail shells and a
dollop of wisteria.

The sun will take care of the rest.

 

Fairy Rings

Spring is doing what spring does best. The earth is softening, once-barren landscapes now bubbling with tender buds and blossoms. In the garden, asparagus rises like birdsong. And after it rains? Enter Marasmius oreades, aka, the fairy ring mushroom.

If ever you’ve stumbled on a near-perfect circle of these buff-colored, wavy-capped fungi, perhaps you’ve smiled at the amusing “coincidence.” Or maybe it spooked you, particularly if one popped up on your own lawn. (Note: These boomers are known to kill turf.)

Myth and folklore refer to these circles as “fairy rings.” Can’t you almost see it? A wild band of wee folk dancing among these mushroom portals?

Tempting as it may be to step inside a fairy ring, myths warn against it. Long of the short of it, those who are lured inside become captives of an unseen realm where hundreds of years can pass in a blink.

On the subject of fair warnings: The fairy ring mushroom is actually a choice edible with a sweet quality that has made its dried caps the star ingredient of more than a few macaroon and cookie recipes. (Go on, look them up.) But this innocent wildling does have a toxic lookalike. Best not to harvest unless you know for sure. And, certainly, withhold from sautéing them.

Foxglove

How did the pretty foxglove get its name? Etymologists have spun many theories. In 1847, William Fox Talbot proposed that “foxglove” may have derived from “folks’ glove,” especially since the Welsh called the flower maneg ellyllon, aka, “fairies’ glove.”

This much we do know: They are bumblebee magnets.

If ingested, the common foxglove (Digitalis purpurea) is highly poisonous to people and animals. In this case, looks can’t kill. But one could see why the Scottish called them “witches’ thimbles.”  PS

The Zoo

Fiction by Daniel Wallace   

Illustrations by Harry Blair

We were listening to Vivaldi the night I died, the bed so soft, so warm, my wife of nearly half-a-century perched beside me with a cup of ice chips, there to wet my tongue, my lips. Even though I die at the end of it, this is not a sad story, really: I was very old, comfortable, cared for, weary, and loved, loved my whole life long, ready to fade into whatever night was waiting for me. And of all the moments I might have conjured to accompany me as I was leaving, it was our very first date that I recalled.

Clara and I were grad students in English, just classroom friends, weeks away from defending our dissertations — hers on lute music in Shakespeare’s early plays, mine on Mary Shelly’s Frankenstein and the birth of modern science. I’d always liked Clara, but I think everybody did. She was smart but didn’t seem to care that she was, and made the rest of us — who were battling with each other, always burnishing the myth of our own brilliance — seem dumb. She was also funny, and the kind of pretty I was drawn to. Her nose was just a little longer than one thought it might have been, her eyes too big. They were emerald green, though, and rested on her big cheeks like marbles. Her knees were oversized for her long thin legs, like two snakes that had just swallowed one rabbit each. The truth was she wasn’t really picture-pretty at all, but carried herself as if she were, or didn’t care that she wasn’t, and that made her more beautiful than anyone I’d ever seen. She seemed wild to me, beyond anything I could ever capture. I was 27 and looked like a young man overly acquainted with Mary Shelley’s Frankenstein, by which I mean bookish in a sun-starved sort of way, shy around actual humans, shiny brown hair, still waiting for the peach fuzz on my upper lip to turn to fur. Somehow she let me know that she was free — “I’ve been kind of seeing somebody, but now . . . ” And she shrugged.

And there we were.

So we decided to go out for a beer one night. I picked her up in the first car I’d ever owned, an old Dodge Dart I’d bought used five years before, beaten and bruised, 210,027 miles and counting. There was a hole in the passenger side floorboard a mouse could have slipped through, and the engine was seriously flatulent.

“Nice car,” she said, hopping in. She was wearing jeans and a T-shirt, variations on which seemed to encompass her entire wardrobe. “Is it new?”

“Very funny.”

“Kidding,” she said. “But seriously, it’s a real car, right?”

“Ha ha.”

“I’m just having fun with you.” She punched me in the shoulder. “But honestly, want me to give it a good push? Happy to.”

She went on like this for a little while and stopped just before it became tedious. Maybe just a beat after it became tedious. But I was laughing. “For someone who doesn’t even have a car, you have strong opinions about mine.”

“I kid you,” she said. “But seriously.”

Off we went to a place called Brother’s, famous for its jukebox and onion rings and frosty beer mugs. We slipped into a booth and talked about what graduate students talk about — dissertation directors, anxiety, our cohorts, and more anxiety. That was the thing: It was fine and fun and comfortable; we just got along so well. Even after a few minutes together it felt like we’d been coming to Brother’s forever and talking about nothing and laughing — when this guy appeared, an apparition materializing from the dark of the bar beyond us. Tall, wiry, a small face made angular by a well-trimmed goatee, and eyebrows like a mossy overhang. Our age. He was wearing a black jacket and a black T-shirt beneath it and black pants, and I’m assuming black socks and underwear as well. He sat down next to Clara — they clearly knew each other — and he smiled at me and shook my hand. A strong grip. Very strong.

Clara covered her face with her hands and moaned. “Jeremy,” she said, she sighed. “Jesus. Jesus Jesus Christ.”

Jeremy looked at me and rolled his eyes, like we were having so much fun and now Clara has to come and ruin it for us.

“I saw you and I had to say hello,” Jeremy said to her. Then to me, conspiratorially: “We were together, not too long ago. Clara and I.”

Clara nodded, but it was a grudging nod. I’m sorry, she mouthed to me.

Jeremy saw her. “You should be sorry,” he said.

“Please,” she said. “Jeremy. This is not the time or the place for this.”

Jeremy shook his head and shrugged. “I don’t know why. This used to be our place.”

“Our place?” She mocked him. “We came here twice.”

Someone put two quarters in the jukebox and “Raindrops Keep Fallin’ on My Head” began to play. Clara looked at me. “We should go, Richard. This isn’t going to get any more fun than it already is.”

“Richard,” Jeremy said. “What a great name. May I call you Dick, Dick? Great. So, Dick, about how long have you and Clara been an item . . . Dick.”

I didn’t answer. I was in a difficult position: Clara and I really weren’t an item, yet; I didn’t feel it was up to me — or in my wheelhouse — to step up and eject the interloper from our midst.

But then, slowly, Jeremy’s smile dimmed and died, and he looked at Clara as if she were a hideous thing.

“You’re a coward, you know,” he said to her. “How could you just
. . . disappear? No call back. Nothing. Not cool. Not how you break up with somebody.” He looked at me, back to her. “Just . . . not cool. In case you didn’t know.”

She closed her eyes and took a deep breath, as if she were about to plunge underwater.

Slowly, she exhaled.

“We didn’t ‘break up,’ Jeremy. We were never even really seeing each other, not like that. We were never even — .” She stopped, giving up the postmortem. “Listen. I’m sorry, okay? I should have called you or maybe written you back to say thanks and everything, it was great while it lasted but a talent-free hobo novelist who doesn’t know the difference between a semicolon and an ampersand is just not what I’m looking for in my life at this time. All the best, Clara.”

Jeremy tried to rally with a comeback, but he didn’t have one. “I’m not a hobo,” he said. “Just . . . between places.”

“For a year and a half,” Clara said.

Poor Jeremy. He had been defeated. “Raindrops” ended and began again. Jeremy shook his head, stared off into the faraway-somewhere. He looked like he was standing on the shore of a deserted island watching the ship that was supposed to save him sail on by. 

“Okay, well, I feel like it’s time for me to hitch a ride on the next prevailing wind! But before I go, I have a message for you, Richard. You’re going to be me one day. You’ll have the time of your life with this one. You’ll be so happy. It’ll be like the world went from black and white to color. Then everything will go to shit and you won’t be happy anymore because Clara will move on, and it will suck for you, just like it’s sucking for me now.”

By the look in his eyes he was taking a moment to relive some of the colorful times he’d shared with her, and he smiled. “But it will be worth it,” he said. “Because Clara . . . well, nobody is Clara.”

Then he stood, and just as quickly as he had come was gone, a shadow fading away into the darkness of the bar.

We paid up and left and walked to the car in the dusky quiet. We were a little unsettled.

A breeze ruffled the trees but fell short of the two of us, standing on either side of my car now in the gravel parking lot. No stars out yet but the moon was rising, low still and smoky white.

“Well, that sucked,” she said.

“Yeah. Yeah, but — ”

“But what?”

“You have to admire his pluck.”

“I love that word,” she said. “He’s not plucky, though. He’s . . . indecorous.”

“Unseemly.”

“Boorish.”

Looking down like there was something on the ground for her to see, her hair fell into her face and it was as if a big CLOSED sign went up. Even after she pushed it back behind her ears it was hard to really see her. “Jeremy,” she said. “Such a mistake. What if every mistake you ever made followed you around for the rest of your life? Like a parade of mistakes. The too-small shoes you bought, the undercooked chicken. Jeremy.”

“That would suck a lot.”

“I was mean to him.”

“He asked for it.”

“Really?”

I shrugged my shoulders. Maybe he did, maybe he didn’t, but I was on Clara’s side now. I looked back at Brother’s. I kept thinking Jeremy was going to follow us out here and stab me.

“I think we should make a mistake,” she said.

“Really?”

“We need to do something,” she said. “That or go home. And I don’t want to go home. Let’s do something stupid that will follow us around forever like undercooked chicken.”

“Sure,” I said, not really sounding like the devil-may-care-crazy guy she may have wanted just then. But what to do? I couldn’t think of anything: I’d always veered to the quiet, safe side of life. But she had an idea.

“You know what we should do?” she said. “Or what we shouldn’t do, I mean?”

She sat on the hood of the car and waited for me to join her. I did. This was as close as I’d ever been to her.

“What?”

“Go to the zoo.”

There was a small zoo in Bellingham, somewhere between a real zoo and a place where a bunch of animals had been collected from around the world and housed by a larger-than-life intrepid explorer in makeshift pens and a pit for lions and tigers, a skinny elephant, a fence for the giraffe, a cement island for the monkeys. The animals didn’t look abused, just disappointed.

“Great idea,” I said. “But it’s closed. It closes at dusk.”

“Who said anything about it being open?”

And she told me a story she’d heard, about an entryway at the bottom of the 12-foot-high metal fence, one you can slither through with ease, gaining access to the entire place. No alarms, no cameras. Just you and the animals in the dark.

“I know the way.”

“Sure,” I said, hoping to impress her with my newfound recklessness. I handed her the keys to the car.

“Really? Seriously?” she said, like a kid. “You’re up for this?”

Her face was so small I could cup it in one hand, and in the half-light of the parking lot outside of Brother’s she had the patina of a film from the ’40s. I think I was already in love with her. We got in the car and she looked at me, and it was as if she were saying, Are you ready? Because this is happening. If you’re going to wimp out this is your last chance. In just the few minutes we’d been outside night had fully fallen. A couple of frat boys came out of Brother’s braying at each other, and the tail end of a song comes out with them — “Raindrops.”

“Let’s do this,” I said.

She started the car and winked at me as she revved the engine. “Big mistake,” she said.

It was a terrifically muggy night but with the windows down I could feel a cool undercurrent to the air. I remember thinking that one day it would be fall, then winter, then spring and then summer again, and that whatever was about to happen will have happened a long time ago. The wind made Clara’s hair go wild, half of it flying out the window like streamers on a bicycle, the other half in her mouth and in her eyes, blindfolding her for seconds at a time. “I’ve got this,” she kept saying. “No problem.” Then she looked at me, mock-scared with a frightened smile, like the other part of her was saying, Don’t believe me! There is a problem! I don’t have this!

She took a sudden turn off of Greene Street, and then the road whipped around to the right, up and then down, the car beams breaking into what felt like a virgin dark. Just a pine tree forest, a forgotten road, nothing else.

She pulled over to the curb and cut the lights and we were under the cover of night.

“We’re here,” she said.

Gradually the world around me came into focus, and over the trees I could see the throbbing red light at the top of the WRDC radio tower. I positioned myself in the world and I realized we were in fact right behind the zoo, near a farm, an overgrown pasture. She put the car in reverse, pulled back, angled it, then turned the lights back on, spotlighting the secret entrance through the fence. She raised her arms into the air, fists clenched: victory.

“You’re pretty impressed with yourself.”

“I am,” she said, nodding. “As I should be.”

She turned off the car and threw the keys back to me.

“It’s go time,” she said.

The hole in the fence was big enough for a mandrill to crawl through. We got in on all fours. Neither of us said a word but communicated through hand signals and raised eyebrows and then suddenly — What’s that? Oh. It’s nothing. Continue . . . inching through the inky dark toward the animal quiet.

The woods ended, and we were on a path, dirt and gravel first and then lightly paved uneven asphalt. A yellow light spilled on the elephant cage, that fenced-in patch of hard dirt no bigger than a poor man’s front yard. There was no elephant there now — he or she was sleeping inside. I’d been here a couple of times, thrown a few peanuts over this wall. Clara looked at me. She was so excited she seemed to be vibrating. She leaned in close and stood on her tiptoes to whisper-yell in my ear: “We did it!” She held onto my elbow. “But it’s important to stay quiet,” she said. “That way they won’t know we’re not one of them. They’ll do things most people never get to see them do.”

It turned out that animals in the zoo at night do what most animals do. They sleep. It was absolutely still. The elephants, the giraffes, the monkeys, the spiral-horned antelope — they were all asleep. You could hear them; it was the humming sound of a living forest. Blue-black shadows everywhere. An ibis had a bad dream and shrieked, and a striped hyena answered (maybe it was an ibis, maybe a hyena), then it was silence again. What lights there were were kept low, and the moon was hidden behind a cloud. It turned out that sneaking around in a zoo full of sleeping animals was not unlike sneaking around in a zoo with not a single animal in it. Clara thought she saw something and gave a little involuntary gasp and turned and — it was a rabbit. She shrugged her shoulders, smiled, but I could tell she’d had high hopes for this adventure. It hadn’t lived up to its hype. “We can go now if you want,” she said.

I did want to go. I wanted to be back in the car talking about what had just happened, how great it was and can you believe that we actually did that? Clara had no idea how careful I normally was, how meticulous with my life, had no way of knowing that I was a man who folded his pants at the crease and arranged his shirts by kind and, within kind, color, whose life-plan was to be invisible on command, to follow directions, to go as far as a man with a Ph.D. in Frankenstein could go. So yes, I wanted to leave.

But she was just too defeated. 

If this were even our second date I would hug her, even kiss her until my kisses made her smile. A second date meant options. A first date, you couldn’t — I couldn’t — do more than take her hand. There was an old stone wall surrounding a duck pond, and I stepped up on it. It was only 2 feet high. Clara looked up at me and sort of laughed and said, “What are you — ?” but before she could finish the sentence I had my hand out and she took it and I pulled her up to stand beside me. “Listen,” I said. She listened and heard the same thing I did: almost nothing at all, just that humming sound. “Now listen,” and with my hands cupped around my mouth I shouted a quote from the book I had memorized: “Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow.”

That did the job: The night blew up. The animals rose. Plodding out of his concrete bunker pounded the elephant, the curious giraffes loped into the moonlight, and the island of monkeys began to wildly chatter. Every animal was baying and woofing and screeching. The animal world had awakened — just for us.

“Richard,” Clara said, still in whisper-mode. Wings flapped in the dark above us, water roiled somewhere nearby. Clara grabbed my arm and pulled me close. Our shoulders bumped. “This is just . . . so great!” Her big eyes were wide, the size of saucers for a miniature teacup. The moon, the stars, the sky, the animals of the Earth, this beautiful woman, all here, before me — and I felt as if I had created a moment that had never been created before, never in the history of the world. And I was sharing it with Clara.

But I woke up more than the animals. The zoo actually had a keeper. I saw him before I heard him, the beam of his super-powerful flashlight bouncing off of everything.

“Who’s there?” he called out, in a deep voice. “You’re trespassing, assholes. And yes, it’s a felony, and yes, I will prosecute. Do not think I won’t. Course I’ll let you spend some time in the hippo pond first, goddamn it.”

He sounded tired, and very serious. This had gone too far for me, and for Clara. She was frozen against my side, had stopped breathing I think, statue-still. I took her hand and we jumped down from the wall. I had no idea now where the hole in the fence was, but what choice did we have but to try and find it? We ran into the woods. I scratched my face on the lower branches of a pine tree and could feel the stripes of blood across my cheeks. But we didn’t stop running. The zookeeper could hear us, of course, and shined the light into the woods following our path. “Come out come out wherever you are, moron,” he said gleefully. He followed the sound of us, sweeping his light through the forest, coming closer. I had no idea where we were. But we came to a huge tree, and I pulled Clara behind it, wrapping my arms around her until we were as small as two people could be. The light of his flashlight fell all around us, but not on us. We were that close to being seen — inches away from being caught and caged. But we were not.

He gave up. “Damn it,” he said to himself now, thinking we were long gone.

Then he turned around and headed back the way he came.

Still pressed up against me she looked up at me and smiled.

“You did it,” she whispered. “You saved us.” She kissed me on the cheek, but her eyes did not leave mine. “Richard,” she said, “that was truly magical.”

And I thought, I actually remember thinking this as we huddled together behind that tree: in thirty, forty, fifty years — whenever she buried me — no matter what may have happened through the decades of our life together, this was what I’d remember, this night, the story she’d tell too many times to our children, our grandchildren, our oldest friends, the story of that night we broke into the zoo and woke everyone up. And not because it was the best thing that ever happened to us, but because it was the first. It set the tone, she’d say, for the rest of our lives. That night at the zoo we were in our own cocoon, arms encircled, closer than close. She burrowed into me, and we stayed that way for a while, longer than we needed to, until the night returned to its rhythms, until all the wild animals in the world went back to sleep.

So of course, out of all the moments of my life, this would be the one I chose to see me out.

I felt a chip of ice on my lips, a damp cloth on my forehead. I didn’t know if my eyes were open or closed, but it was all dark now, and getting darker. I found my wife’s hand and held it.

“Clara,” I said. “Oh, Clara!”

Yes, your name was my very last word, so sweet I said it twice.

“Clara?” Gwendolyn said, and she shuddered, seemed to freeze and harden as if she’d died herself. “Richard, who is Clara?”

And I might have told her, but it was a long story from a long time ago, and by then it was much, much too late. PS

Daniel Wallace is the author of six novels, including Big Fish and, most recently, Extraordinary Adventures. He lives in Chapel Hill, where he directs the Creative Writing Program at the University of North Carolina.

Residential Renaissance

Residential Renaissance

Art dominates Grandma Boyd’s “cottage”

By Deborah Salomon     Photographs by John Gessner

The Breakers. Downton Abbey. Monticello. Taliesin.

Fancy family estates — real and literary — set the tone with fancy names. What could be more dramatic than the opening line in Daphne du Maurier’s Rebecca:

“Last night I dreamt I went to Manderley again.”

Locally, Weymouth — named for an English village — qualifies; and right next door, Inchalene, Celtic for “cottage at the edge of the woods,” adds its own mellifluous name to the list. The residence, designed by Alfred Yeomans, built in 1923 for James and Jackson Boyd’s widowed mother, Eleanor Herr Boyd, and now respectfully renovated, retains grandeur aplenty. During the Boyds’ heyday, Granny arrived from Pennsylvania in a private railroad car preceded by servants, supplies and silver. Once ensconced she kept tabs on her sons and grandchildren while hosting garden parties.

Eleanor Boyd died in 1929, son James in 1944. Inchalene declined until purchased in 2005 by a historic homes renovator and his sister, from Palm Beach. Their plan, similar to the Boyds’, was to create a family compound with their elderly mother nearby. But mother died and an unfortunate construction-related incident aborted Inchalene’s rebirth.

The grande dame of Connecticut Avenue was down . . . but not out.

In the spring of 2011, Inchalene once again bustled with activity, as workmen readied it for a designers’ showcase benefiting Weymouth Center for the Arts and Humanities.

The result: a double dose of classic opulence. Many furnishings from the showcase were still in place when the house was staged and listed for sale.

Eric and Nelsa Spackey had been looking for a year. “I passed by one Sunday at 6 a.m., hopped the fence and listened to the birds,” Eric recalls. “The house had a good feel, a welcoming flow, positive energy.”

“I fell in love with it,” Nelsa adds.

So impressed were they that in 2019 they bought the house and contents — lock, stock and Murano glass chandelier hanging over a hammered-copper dining table. What wasn’t included they tracked down at auctions, online and elsewhere. “We wanted (furnishings) related to when the house was built,” Eric says.

Turnkey sales of this magnitude seldom happen. Neither does an entrepreneur like Eric Spackey, who grew up in Michigan, trained in finance, set up a cellular network, manufactured uniforms for the military, and is now involved in developing a James Bond-worthy electronic communications device — among other pursuits.

“Sort of like Forrest Gump,” Eric says, as he kneads sourdough on the kitchen island. Besides baking bread, he cooks, cares for the horses, tends a garden, orchard and chicken coop. He plays the guitar and collects art, enough to transform the mansion into a gallery begging a docent. The first image inside the front door is a mother and child with cherries by Gilbert Stuart, whose other works include the iconic portrait of George Washington.

Eric relates best to Fauvism, popularized by Henri Matisse. Upstairs hangs a dreamy likeness of Claude Monet’s daughter and granddaughter, by Monet’s son-in-law Theodore Butler.

The Spackeys’ have four daughters and three granddaughters; living among them made him appreciate the soft femininity of these paintings, and the house. But not all his art is “pretty.” Eric displays Depression-era WPA depictions of factory workers in stark, angular forms.

The Spackeys’ other residence is a waterfront villa in Puerto Rico, site of Eric’s businesses. After hurricane Maria hit the island in 2017, they looked for a safer home base. Eric considered Asheville, then discovered Moore County while working with a government official from Pinehurst.

“I wanted more than a house,” Eric says. “I wanted a working farm with horses — and this was close to the military.” Perfect! “I use the hayloft as a meeting place and the tack room as a bar.”

As for Granny Boyd’s white stucco English Tudor cottage with mullioned windows: “The house itself is a work of art,” Eric says. To preview the interior he installed a 12-foot marble fountain adorned with lions on the circular drive.

Inchalene’s footprint and layout remain virtually intact, except for a solarium added at one end and a second-floor master suite cobbled from several smaller bedrooms and a porch. The longitudinal layout, however, is both interesting and typical of estates unconstrained by lot size. A “shotgun” hallway bisects the main floor, allowing straightline vision from the solarium at one end to a small office at the other. Off it branch the kitchen, dining room, den, entrance hall, powder room and a curious bedroom with door leading outside. Often called a pastor’s room built to accommodate itinerant clergy, these front-facing bed/bath/sitting chambers also appear in homes with elders who could not climb stairs. Or, it might have doubled as an office where the chatelaine received tradesmen without allowing them into the house proper. To that use, the sparsely furnished room includes a desk and a floor lamp from the reading room of a New York City library.

The kitchen, displaying art on a wall rail and countertops, introduces a color appearing elsewhere: the pale green of extra-virgin olive oil. Step down into the family dining area where hangs Eric’s talisman: a 10-foot-long, 450-pound Byzantine mosaic believed to be 2,000 years old that just happened to fit the wall over the table. Beyond that, the glass solarium surrounded by flowering shrubs sparkles like a diamond.

In contrast, the den is dark, clubby, bookish, with oversized pieces upholstered in leather, a primordial man cave where gents gathered to solve world problems over cigars and bootleg brandy.

That long hall opens out into the bright living room, where white sofas hint contemporary in contrast to an ornate gilded case piece in the dining room — imagine it coming from a Versailles tag sale, where Eric might have also found his musical clock, circa 1780s.

The second floor master suite is a clutter of charming objects in hues to match antique Delft tiles surrounding this and other fireplaces. Here and elsewhere, wall-mounted TVs stream fine art when not in use. Down the hall, a “princess” bedroom is scaled and decorated for granddaughters, including a bathroom with a 3/4-sized tub and sink. Next to it, a rough-and-tumble boys’ room has bunk beds and a wall painted to resemble a barn door.

Faux finishes appear on other walls, some resembling wood paneling; others textured Venetian plaster mimicking damask. Touch to believe.

Completing Inchalene’s idyllic portrait are two horses joined by Frida (as in the Mexican painter Kahlo), an affectionate and intelligent German shepherd rescue, and Luna, a long-haired Himalayan kitty big as a watermelon.

Eric insists that maintaining Inchalene’s acreage makes him feel connected. “The chickens produce manure for compost for the garden, a tie back to nature. There’s no better therapy than getting on my tractor. It keeps me balanced.” He finishes with a sweeping, “This was meant to be.”

All things considered, maybe more Lorenzo de’ Medici than Forrest Gump. PS

Home & Garden Tour

Inchalene is just one of the homes on the Southern Pines Garden Club’s Home & Garden Tour on April 9 from 10 a.m. to 4 p.m. Buy tickets online at southernpinesgardenclub.com.

The Beauty in the Barrens

The Beauty in the Barrens

The triumph of Tufts,
Olmsted and Manning

By Claudia Watson
Photographs by John Gessner

 

Beneath the canopy of a brilliant blue June sky, the land lay battered. An abandoned tramway, used for hauling lumber and turpentine, stretched through a landscape marked by scraggly oaks and a few spindly pines. Wild hogs and sheep foraged the nearly barren sand.

On that day in 1895, James Walker Tufts, accompanied by surveyor Francis Deaton and two other men, inspected a 100-acre parcel of his new landholdings in southern Moore County — the site for his proposed town. The first task was to settle where to place the survey stake marking the land’s center point.

They made camp for the night in an old lumber shelter, boarded on two sides. The next day, Tufts walked to a broad, shallow, basin-like plot of ground. He had neither an ax nor the proper fatwood stake but succeeded in finding an old piece of timber, which he drove into the ground. Deaton marked the spot on his rough topographic map “Beginning Point.”

Characterized by its rolling terrain and deep, coarse sand, and predominately covered by tall longleaf pine, the land once had been part of a 90-million-acre wilderness stretching from southeastern Virginia in the north, to eastern Texas in the west, and as far south as the upper half of Florida. The longleaf pine (Pinus palustris) could live up to 500 years, grow to 3 feet in diameter and reach a height of 120 feet.

Soon, this region’s harsh but beautiful landscape was under pressure. The tall, straight, longleaf timber did not go unnoticed by the steady stream of European settlers. They followed the Cape Fear River and its tributaries to the pine barrens of Moore and Richmond counties to find land for intensive high-yield farming. But the sandy soil was unsuitable, so they turned to the pine forests for their livelihood.

The vital longleaf ecosystem was devastated, the target of exploitation: first for its lumber, to build homes, buildings and masts for ships. Later its resin was used to make tar and turpentine, essential naval store products that supported shipbuilding efforts. With the arrival of trains in the 1800s, the trees were felled to build railroad tracks. Ultimately, those railroads were essential to Moore County’s development and Tufts’ arrival.

James Walker Tufts, a successful and wealthy entrepreneur from Massachusetts, was captivated by the area’s warm climate and therapeutic pine-scented air. He used his considerable wealth to locate and purchase nearly 6,000 acres to build a winter retreat in an area laid waste by decades of timbering operations.

The project, seen as essentially benevolent, would provide respite and recreation for “the betterment of his fellow humans.” In particular, he focused on ailing individuals — including those with early stage tuberculosis who were mistakenly, and commonly, believed not to be contagious — seeking a warm, dry climate while recovering. Learning quickly that all stages of the disease were contagious, he rebranded his retreat into an outdoor sporting venue, with recreation as its primary business.

Tufts envisioned a charming New England-style village set in the 100-acre core of his land holdings. Armed with Deaton’s survey denoting the town’s center, and immediately after acquiring the land contracts, Tufts turned to the most prestigious landscape architecture and design firm in the country — Olmsted, Olmsted & Eliot — to design the town he imagined.

Olmsted’s plans were renowned for the role that landscape architecture played in improving quality of life. His concept was that nature not only lifts the human spirit, but strengthens and restores it. He also believed that every human being, regardless of social or economic status, had a right to that experience. Tufts’ principles and Olmsted’s were synchronized.

Olmsted, however, was in his 60s and affected by mounting health problems, including dementia, which soon sidelined him. During the summer of 1895, just as Tufts’ project was underway, Olmsted retired. That year, his stepson John Charles (“J.C.”) Olmsted and architect Charles Eliot carried the firm’s workload. Frederick Law Olmsted Jr. was busy with George W. Vanderbilt’s Biltmore estate project.

Olmsted’s catalog lists Pinehurst village, but it was small compared to other projects. A visit report dated June 20, 1895, provided by J.C. Olmsted, indicates that Tufts initially spoke by phone with another member of the firm’s staff and provided his conceptual overview for the village.

A general plan would cost $300, including supervision, planting that year, and time for a planting assistant. “Traveling expenses were extra. No visits were to be made by the firm, only by W.H. Manning that fall,” noted the proposal.

On July 3, 1895, Tufts met with Fredrick Law Olmsted Sr. and J.C. Olmsted at their offices in New York, and within days the firm provided a plan for the town drawn in ink on linen paper. Tufts quickly accepted it and then, eager to see his vision move ahead, ordered 200 water oaks.

The project’s 1895 promotional brochure said, “It is understood, of course, that the extensive plans that have been made for beautifying the village with greenery will require considerable time before they are carried out to completion. The wilderness cannot be made into a garden in a day, even with the most liberal expenditure of money, energy, and skill.”

Warren H. Manning had joined the Olmsted firm in 1888 as its planting supervisor, where his extensive horticultural knowledge quickly expanded his responsibilities. Mentored by Frederick Law Olmsted, Sr. in his early years with the firm, he oversaw over 100 projects, including planning the metropolitan park systems for Boston, Louisville and Milwaukee. In addition, he supervised the acquisition of thousands of acres for Vanderbilt’s Biltmore estate and, beginning in 1893, became involved in planning its arboretum.

Manning’s vocation had its roots in his New England childhood. He credited his father, an esteemed horticulturist and nurseryman, for his appreciation of nature. He absorbed his father’s fascination with plants of all types, particularly the newly fashionable American native plants. Though he did not have formal training in landscape design, he traveled extensively with his father to commercial greenhouses and gained experience as the manager of his father’s plant nursery.

When Manning was 27, he wrote Frederick Law Olmsted, Sr. seeking work and stressing his horticultural skills, particularly his success moving large trees. He wrote of his “knowledge of hardy trees, shrubs, and herbaceous plants & the treatment & the effects produced by them.” He underscored his literacy in common and botanical names and botanical relationships.

The Pinehurst village project progressed with J.C. Olmsted the lead partner. Designing the landscape without inspecting the site wasn’t feasible, so in September Manning was sent to meet Tufts and explore the property. He and Tufts traversed the 100-acre town site taking in the views from atop ridges and gaining knowledge of its topography as well as the natural scenery.

When he returned from his visit with Tufts, he described the area as “largely sand hills laid to waste” from timbering. But he added with enthusiasm that it also held “long valleys with springs, streams, and narrow wetlands” with small trees, shrubs and herbs.

The moist valley areas and wetlands were the most exciting and attractive for plants, birds and other wildlife. “The bottoms of the wet valleys are the natural winter and summer garden spots of the region and a constant source of delight to one who appreciates varied forms of plant life,” he wrote.

The dry upland was less appealing. Here, scrubby and stunted oaks and spindly pine trees, either dead or deeply gashed, littered the area marked by tufty grasses and bare sand. It is “a ghastly ruin of fallen trunks, blackened stumps, and decayed branches, all testifying to the devastating methods of the turpentine distiller and the lumberman,” Manning said in the Pinehurst Outlook in December of 1897.

“It became at once evident that an artificial means must be resorted to if an attractive evergreen landscape is to be provided during winter, and an abundance of flowers during early spring, the most active season of visiting guests and residents, most of whom being from the colder states expect very different and more attractive conditions than those prevailing at their northern homes, conditions which would not be presented by the original landscape,” he wrote.

Delivered Oct. 30, 1895, the landscape plan offered lushness in exchange for the dreary and monotonous landscape. “It will be replaced by a varied and interesting local scenery in which green foliage will form all the foregrounds, drape the buildings, afford shade on sunny days, and conceal the raw earth . . . with perennial verdure,” the plan noted. The comprehensive proposal recommended a heavy use of evergreen plants — preferably broad-leafed evergreens.

An oval-shaped “Village Green” meant for active use was the plan’s central feature. Located in a broad, shallow amphitheater-like valley, it was surrounded by winding roads that hugged the natural grades, radiating outward from the green. Charming New-England style cottages, most with porches, were sited on uniformly sized lots along roads often named for trees — Magnolia, Dogwood, Laurel, Maple, Orange and Palmetto. The town’s layout provided an enhanced sense of space with the boundaries opening to new views.

Near the railroad tracks, to the south, stood a dense grove of longleaf pines that offered a glimpse of the forest that once covered the land. The hotel, town office, a store and community casino were placed in the center of the village. Evenly spaced trees and dense plantings would offer a naturalized effect throughout all of this.

To achieve the lush setting for the town, Manning specified and located the trees, shrubs and ground covers based upon the location, carefully framing the views from cottage windows and the hotel to provide a verdant appearance in every season.

The planting scheme recommended 222,600 plants in nearly 90 varieties, importing 48,000 plants from France and 1,500 from nine American nurseries. The balance of the plants would be purchased, collected later, or propagated at a nursery in Pinehurst.

Realizing the initial cost would be great, the architects justified it by saying that the cost would be insignificant once the plants established themselves. “It is absolutely essential to making the vicinity of a village of the sort you are building agreeable and homelike in the winter,” the landscape plan argued.

Evergreen shrubbery was primarily local and native material. “It was recognized . . . that native plants must be depended upon chiefly for the results we wished to secure, for they only could be procured in sufficiently large quantities to do, at a reasonable cost, the immense amount of planting that was required in the town,” Manning wrote later in the Pinehurst Outlook. He preferred native material because it was fully adapted to the local soil and weather conditions, and needed less water, fertilizer and overall maintenance to thrive. As an added incentive, they remained balanced with nearby plants instead of overtaking the landscape like invasive species.

The plan included dozens of native plants collected from private property or the swamps within about 100 miles of Pinehurst, but the effort became costly.

“You better depend upon your greenhouse men to do your propagating from seed instead of attempting to root from cuttings, which would be very difficult if not impractical,” Manning suggested of the local native plants. “You will get more plants at less cost,” he added, offering an unconventional and less time-consuming method for preparing the seeds for germination.

To help implement his plan, Manning brought in Otto Katzenstein, a German seedman who worked for the Olmsted firm and was enamored with native plants. Katzenstein would develop and manage the town’s nursery and crews who gathered plant material to use in Pinehurst.

With the planting proposal approved, Manning shifted his attention to installation and began with the Village Green, which provided the central recreational setting for the community.

Planted with rich layers — groundcovers, shrubs, and trees above — the Village Green provided an area for restful recreation and the study of nature. Selected for their growth habit and the various tints of green and texture they offered to the foreground, the trees and shrubs provided an indistinct border.

Multiple “plantations” were set upon the Village Green and anchored by evergreen (not coniferous) native trees — Southern magnolia (Magnolia grandiflora), evergreen oaks and Carolina cherry laurels (Prunus caroliniana). Then, the smaller groups of single trees and shrubs would spill out from the larger tree groups and blend into the foreground, creating a constantly changing play of light and shadow.

The understory featured non-native camellia, boxwood, pyracantha, azaleas and cherry laurels (Prunus lauroceracus). These mingled in groupings with native sweet bay magnolia (Magnolia gluca), holly, gall-berry (Ilex glabra), wax myrtle (Morella cerifera), fetter bush (Lyonia lucida), and mountain laurel (Kalmia latifolia). Wisteria would festoon the tall pines with its drooping clusters of flowers. Osmanthus, nandina, wisteria, elaeagnus and privets, all non-natives, would adapt and naturalize.

The transition to the sunny central area of the Village Green required 40,000 groundcover plants. In that time, landscape architects commonly used non-native species for their visual appeal and ability to colonize, often filling a derelict space. Here, non-native Japanese evergreen honeysuckle, English ivy and periwinkle covered the trunks and branches of the deciduous trees, keeping the areas green with foliage, even in the winter. The unruly honeysuckle required regular shearing to keep it within borders and at ground cover height.

Many experimental plots of grasses were grown from seeds secured from various parts of the county, but most failed to tolerate the conditions. Only winter rye grown from seed made a good start in the Village Green, but it finally drew Tufts’ ire.

“Winter rye was bravely endeavoring to cover the whiteness of the sand. Patches of rye growing on the village green served only as a mockery of the word green and of the deep lush turf of the New England commons after which this area was patterned. On every hand, there was white, infertile soil,” Tufts wrote.

Manning adjusted the plan and removed the unsuitable ground cover creepers and turf. Next, he recommended covering the bare sand with fresh pine straw and later planted dozens of longleaf pines.

In the 1800s, lovely shade trees were becoming rarities, and lovers of arboriculture would travel miles to see them. An evergreen canopy was essential for Pinehurst village and would lend much-needed shade and character, not typically found in the South.

Village streetscapes received 1,500 trees, and the homesites, 500. Native trees used throughout the plan included longleaf pines, red cedar (Juniperus virginiana), dogwoods (Cornus florida), eastern redbud (Cercis canadensis) and sourwood (Oxydendrum arboretum).

Oaks, the most essential of all native trees and known to sustain a critical and complex web of wildlife, were among Manning’s favorites. Drawn by their lofty canopies and color shifts throughout the seasons, he used willow oak (Quercus phellos), live oak (Quercus virginiana), and swamp laurel oak (Quercus laurifolia) as specimens to edge village streets and grace homesites.

Today, the village’s landscape is full of the towering oaks, Southern magnolias and cedars planted between 1895-1898. Thirty-four of those trees on the village of Pinehurst property and bordering the Village Green are protected and designated heritage trees including several magnolias and hollies along the walkway near Given Memorial Library. In addition, dozens of other majestic trees at Pinehurst Resort and on private land continue to provide intrinsic value to the community. Most of the Village Green’s longleaf pines are at least 100 years old.

At Pinehurst’s founding, the only remaining dense stand of longleaf pines in the area, known as the Pine Grove, became a favorite attraction. There, a friendly herd of deer shared their domain with gorgeous peacocks, attracting visitors with children in tow who enjoyed the teeter-totters and swings.

Manning specified the addition of 50,000 trees, mostly longleaf pines, for the Pine Grove site and the borders of the village. He also included exotic conifers known for their shape, texture and color in the landscape. Adapted well in the South, the graceful deodara cedar (Cedrus deodara), Japanese cedar (Cryptomerias japonica) and cypress augmented the native growth.

The workforce completed the village center’s buildings, necessary infrastructure and 14 residences within about six months. With each area’s completion, Manning’s workers began installing the landscape.

The updated general plan drawn in November 1895 for Tuft’s promotional efforts reveals the enormous scope of work required to connect passages full of scenery for the village, its roads, walkways, and finally, the homesites — where visitors observed the details more closely. The initial homesites were small and set back 36 feet from the street. Manning wanted to ensure that “each home then appeared to be set in its own private forest.” So, 13,400 evergreen ornamental shrubs, in addition to 500 homesite-designated trees, provided generous coverage, plant diversity and individuality to each lot.

The early streets were 16 feet wide and built using sand and clay from a local pit. A sloped 16-foot shrubbery bed and 5 feet wide sand and clay sidewalks bordered each side of the road. The shrubbery beds absorbed stormwater runoff from the road and sidewalks, benefitting the ornamental trees, shrubs, and flowers planted there.

The streets and sidewalk areas received 1,500 trees and 17,000 plants. Many of the evergreens used on the Village Green would be repeated for these areas but softened by clusters of mahonia and winter jasmine (Jasminum nudiflorum). Low evergreen groundcovers, including St. John’s wort (Hypericum calcycinum), wintercreeper (Euonymus radicans) and many types of roses, covered the edges of the planting strips providing seasonal interest.

After working throughout 1895-96, Olmsted, Olmsted & Eliot ended their contract with Tufts. The firm recommended Manning to assume the project, which he did with vision and energy. He quickly established a farm with a large barn housing a herd of Holsteins and Jerseys cows, then in 1898, started Pinehurst Nurseries.

Otto Katzenstein, who tended the town’s nursery during its founding, became superintendent. He propagated and grew nearly 100 varieties of native trees, shrubs and herbs that succeeded under the challenging growing conditions of the longleaf pine region and offered them to a broader community through a catalog. 

The catalog also offered a variety of non-native “thrifty” plants, including pansies, pinks, roses and a hardy form of the English violet, discovered in an old Southern garden. Those plants adorned the landscape of the Carolina Hotel on its opening day, Jan. 1, 1901.

A winter resident wrote in the Pinehurst Outlook, “Looking out my window . . . I see planting spaces filled with native evergreen shrubbery — magnolias, holly, gall berry, bay flower, yucca, honeysuckle, ground roses, pansies and violets and the whole surrounded by a vast green lawn. Think of it — a pretty green lawn with violets in profusion right out in the open in January — as pretty as our own New England lawns in June.”

While the involvement of Frederick Law Olmstead, Sr., in the village plan has often been a matter of conjecture, in a 1922 letter to Leonard Tufts, Manning wrote, “I know Mr. Olmstead’s personal interest in Pinehurst was a keen one, because of his sympathy with your father’s desire to establish conditions that would make it possible for people who were not well to come to Pinehurst and live for moderate costs . . . and I remember very well his keen interest in my report on conditions that I found there.”

Over the next three decades, Manning continued to work with the Tufts family to extend their vision of the Sandhills. His national practice included more than 1,600 landscape projects throughout North America. One of the 11 founders of the American Society of Landscape Architects, he is considered one of the most significant landscape architects of the 20th century and its first environmental engineer.

Tufts’ vision and collaboration with the Olmsted firm and Manning’s ability to visualize the true nature of the place restored life to a land of nothingness — giving it, and us, a land of unexpected beauty.  PS

Claudia Watson is a frequent contributor to PineStraw and The Pilot and finds joy in each day, often in a garden.

Johnny Allen and the Aberdeen Nine

Johnny Allen and the Aberdeen Nine

When an all-time great wore an “A” on his chest

By Bill Case   

In 1956, at age 7, I fell madly in love with baseball. That summer, and several ensuing ones, I spent an untold number of daylight hours playing both organized and pick-up baseball, as well as the game’s myriad offshoots — pepper, home-run derby, monkey in the middle, etc. After hurrying through dinner, I would often spend another hour hurling a ball at a target painted on the basement wall and fielding the rebound. With an accompanying radio broadcast of a Cleveland Indians (aka the Guardians) game providing grist for my overactive imagination, I would visualize myself playing second base for Cleveland while backhanding countless caroms off the wall.

None of the Indians’ players resided in my hometown of Hudson, Ohio, 26 miles from Cleveland, but the team’s longtime trainer, Wally Bock, did. My parents, Bea and Weldon Case, knew Wally and his wife, and asked them over for dinner. I could not have been more excited if Cleveland’s Hall of Fame pitcher Bob Feller had been invited.

When the Bocks arrived at our home, Wally tossed me a ball (which I still have) autographed by all the ’56 Tribe players. But, too soon, Mom and Dad ordered me upstairs to my room. While lying restlessly in bed, I hatched what in retrospect was a ridiculous plan: Wouldn’t it be cool to finagle a rubdown from Wally like the ones he once administered to Feller and the other Indians I idolized? So, I yelled downstairs, “Mom, my back really hurts!”

My crying wolf fooled no one; nonetheless, the scheme worked. With my folks looking on and shaking their heads at my transparent ploy, Wally provided a brief backrub. All fixed. So, much like Bill Murray’s character Carl Spackler who was promised “total consciousness” by the Dalai Lama in Caddyshack, I got that going for me.

My baseball passion extended to the game’s vast array of statistics. Without attempting to, I committed to memory countless batting averages and home run totals. One mark that always stuck with me was pitcher Johnny Allen’s 1937 win-loss record of 15-1. His resulting winning percentage of .938 was, at the time, a major league record.

The mark was ultimately bettered by Elroy Face’s 18-1 for the National League’s Pittsburgh Pirates in 1959, but to this day, Allen holds the American League record. No pitcher in the 146 years of major league history has posted an undefeated season with at least 15 decisions — the minimum number required to qualify for the winning percentage title. More astonishing is the fact that Johnny was undefeated until the meaningless final game of his ’37 campaign. Risking the unblemished record, he took the mound against the Tigers with just two days of rest. Allen lost 1-0, the lone run scoring in the aftermath of an error by Indians’ third baseman Odell Hale. According to an online post by the Society for Baseball Research, an infuriated Allen “went ballistic after the game” and twice had to be restrained from assaulting his third baseman.

Such behavior was not out of the norm for the hyper-competitive hurler. His 13-year major league career (1932-1944) with the Yankees, Indians, St. Louis Browns, Brooklyn Dodgers and New York Giants was replete with similar incidents. He was known to throw furniture in the clubhouse, but his piques of wrath weren’t confined to the ballpark. After a tough loss to the Red Sox, an enraged Allen returned to the team’s hotel, upended stools in the bar, kicked over an ashtray of sand, and sprayed a corridor with a fire extinguisher. In 1943, it took several teammates to restrain Allen after he rushed an umpire “like a wild man” after the ump called a balk on him. When another unfortunate third baseman cost Allen a game by dropping a pop fly, the pitcher decked him in the clubhouse, then announced to his startled Yankee teammates, “If anybody else drops an easy fly on me, that’s what’s going to happen to you.”

In a notorious 1938 controversy, umpire Bill McGowan ordered Allen to remove the sweatshirt he wore underneath his jersey after the pitcher had cut strips out of the sleeves to “improve ventilation.” Distracted by the fluttering fabric, opposing hitters complained. Allen refused to change his shirt and huffily stalked into the clubhouse, defying Indians’ manager Oscar Vitt’s directive to return to the mound. Allen was fined but recouped his money by selling the sweatshirt to a downtown Cleveland department store, which proudly displayed it in its storefront window. Today, the garment is an exhibit at the National Baseball Hall of Fame in Cooperstown, New York.

While his competitive fire could land Allen in hot water, it no doubt contributed to his pitching greatness. His near undefeated season in ’37 merited his selection by The Sporting News as that year’s Major League Player of the Year. His career winning percentage of .654 (142-75), ranks 22nd best all-time. Hall of Fame catcher Bill Dickey described Allen’s sidearm fastball as “the meanest delivery in the league for a righthanded hitter. He’ll buzz it over the bat handle before you can see it.”

A second Hall of Famer, Al Simmons, picked Allen as the toughest pitcher to hit against in that slugger’s 20-year career. Allen’s record might have been even more impressive had he not been plagued by a sore arm his last six years in the majors.

My fascination with stats like Allen’s 15-1, and for baseball itself, cooled substantially at age 13 after I failed to crack the starting lineup and quit the local little league team, the Hudson Hornets. I stopped buying baseball cards and no longer paid rapt attention to the exploits of legends like Feller and Ted Williams, let alone those of less remembered stars like Johnny Allen. 

But two years ago, Allen came to mind again when I came across a short 1935 piece in The Pilot, reporting that Allen “who used to clerk in the Aberdeen Hotel, is going great guns for the New York Yankees” and that, during this employment, circa 1926-27, Allen pitched for the local Aberdeen team that competed in the Moore County Baseball League.

A search of the archives of The Pilot and the defunct Moore County News failed to unearth further references to Allen’s days here, but Wint Capel’s biography of Allen, Fiery Fast-Baller, published in 2001, provided some additional details about the pitcher’s pre-major league wanderings.

Born in Lenoir, North Carolina, in 1905, Allen, like his Yankee teammate Babe Ruth, spent the bulk of his youth in an orphanage, playing both infield and outfield positions for the Thomasville Baptist Orphanage baseball team. Capel writes that there “was no hint that he would become a sensational big league pitcher.”

While at the institution, Johnny suffered a self-inflicted gunshot wound. He was resting the muzzle of a 12-gauge shotgun on the toes of his shoe when the gun accidentally discharged, causing the loss of two toes on the teenager’s right foot. (Another great North Carolina pitcher, Jim “Catfish” Hunter, also suffered a shotgun injury to his right foot when he was a teenager, losing one toe.) Though he chafed at the orphanage’s strict regimen — making frequent attempts to run away — Allen did learn the basics of the bookkeeping trade there. It was expertise enough to secure a night clerk position at Greensboro’s O.Henry Hotel following his 1922 release from the orphanage.

According to Capel, Allen drifted from one hotel clerking job to another, “for a change of scenery as much as anything,” serving brief stints at the Monticello Hotel in Charlottesville, Virginia, the Sheraton in High Point, North Carolina, and the Wildrick Hotel in Sanford, North Carolina. While working at the latter establishment, he got back into baseball, playing on a local church league team.

In or around 1926, Allen pulled up stakes again, moving to the Sandhills for a clerking position at the Aberdeen Hotel, and soon joined the town’s semi-pro baseball team. 

The 23-year-old Allen left Aberdeen in 1928 to play “organized baseball” with the Greensboro Patriots of the Class B Piedmont League. During that season, he also pitched for teams in Fayetteville, Greenville and Raleigh. In 1929, he signed with the Asheville Tourists, where Johnny Nee, a scout for the New York Yankees, saw him and, impressed with his blazing fastball, signed the 24-year-old to a contract.

After two years of seasoning with Yankee minor league affiliates Allen joined the mighty Bronx Bombers in 1932. The manager was the great Joe McCarthy. His teammates included Lou Gehrig, Babe Ruth and Bill Dickey. In that rookie campaign, he logged a sparkling 17-4 record and pitched in the World Series where the Yanks defeated the Chicago Cubs in four games.

After three more seasons in New York and five in Cleveland, Allen was dealt to the St. Louis Browns, something that was dutifully noted in a 1940 issue of the Pinehurst Outlook. Jerry V. Healy’s story included a recounting of Allen’s initial appearance 14 years earlier for Aberdeen. Pitching against “the strong Mt. Gilead nine on the latter’s local grounds,” a disastrous outing “almost ruined Allen’s career.” As Healy put it, “the farmer boys up in that section loved nothing better than to hit a fast ball a country mile, and Johnny had a fast ball. The coming star (Allen) was retired in short order.”

After his catastrophic debut, Healy noted that Allen, “quiet and peaceful in those days,” eventually starred for Aberdeen. “Wild as a hawk, he won many games by the mere effort of scaring opposing batters away from the plate,” Healy wrote. Allen’s lone shortcoming was “his slow and stumbling baserunning,” no doubt caused by the injury to his foot. Allen made up for this deficiency by smashing home runs and extra-base hits.

The article also mentioned Allen’s link to Jack Meador, “the present manager of the Aberdeen Hotel,” which had previosly employed Johnny. Moreover, in 1928 the hotelman had moonlighted as the Fayetteville Highlanders’ secretary-treasurer during Allen’s brief time on that team. Several months after Healy’s article was published, a massive fire consumed the Aberdeen Hotel. A new hotel was constructed on the same site and renamed the Sandhills Hotel, with Jack Meador remaining in charge. The new structure burned down in February 1942, and Meador lost his life attempting to rescue guests from the blaze.

The Aberdeen team photo accompanying Healy’s article identified Allen and all his pinstriped teammates. According to longtime Aberdeen Mayor Robbie Farrell and his sister Betsy Farrell Ingraham, virtually all the Aberdeen players shown in the picture became men of prominence in the community. Gordon Keith owned the town’s dry-cleaning business and also won the 1939 golf championship of the Southern Pines Country Club. Gordon’s brother, Kenny Keith, was the town’s go-to carpenter. Billy Huntley owned substantial real estate in the area, including the local drive-in theater. Max Folley’s family ran the lumberyard. Bill Maurer was active in the tobacco markets and became co-owner of the Aberdeen Warehouse. Hughes Bradshaw operated a gas station. John Duncan McLean owned the local hardware store and served as Aberdeen’s mayor.

Kneeling L-R: Bill Huntley, Max Folley, Gordon Keith, Purvis Ferree, John D. McLean Standing L-R: Johnny Allen, Bill Maurer, Hughes Bradshaw, George Martin, Arnold Ferree, Kenneth Keith

Arnold “Bony” Ferree served as a health inspector, while his brother, Purvis Ferree, achieved fame in Winston-Salem as the longtime golf pro at Old Town Club. Purvis became the first person inducted into the North Carolina Golf Hall of Fame. His son, Jim Ferree, would continue the family’s golf legacy by winning a pro tour event (the 1958 Vancouver Open) and was the beknickered, silhouetted model for the PGA Champions Tour logo. Finally, George Martin owned Martin Motors, the town’s Buick dealership, on South Street, now a church. Martin installed a bank of showers inside the dealership so that his teammates would have a place to wash up after games.

Gordon Keith’s son, David Keith, now lives in Cameron. His irrigation contracting business is in the old family house on Keith Street in Aberdeen. Born after his father reached 50, David is only in his 60s. He remembers his father saying that Allen was a “ringer” — paid money, presumably raised by the passing of a hat at games, to pitch for Aberdeen — and that his father often served as Allen’s catcher. The games were on Wednesday afternoons, the day many area businesses closed at noon, and attracted sizable crowds. (The Aberdeen Supply Company closes on Wednesday afternoons to this day.)

David Keith still has an ancient, scuffed baseball with links to the old Aberdeen nine. It was given to him years ago by his best friend, Sam Buchan, a grandson of the aforementioned George Martin. Buchan got the ball from Martin’s teammate John Duncan McLean. Mayor McLean kept the ball, belted for a home run in a Moore County League championship game, as a piece of local memorabilia. Just a few years ago, the ball was among the possessions stolen from Keith’s house in a robbery. Fortunately, the perpetrator was caught and the treasured ball returned.

While The Pilot did little to cover the activities of the Moore County Baseball League, the 1932 season was a notable exception. That year, the Aberdeen team found itself in the thick of the race for the league title. Several of Allen’s old teammates from the ’20s were still mainstays on the squad, including Martin, Max Folley, Purvis Ferree, Bill Maurer and Billy Huntley. To reach a playoff series against Vass-Lakeview for the league championship, Aberdeen needed to beat Southern Pines in the last game of the regular season. The deciding contest was played the last day of August on Aberdeen’s home field, now the site of Cactus Creek Coffee.

The county was abuzz, the game looming larger than even the upcoming World Series in which Johnny Allen would appear. When game day arrived, the ballfield was packed. “Two thousand or more people from every corner of the county gathered around the Aberdeen diamond for Wednesday’s big game,” reported The Pilot. “It was the climax of a thrilling baseball season. Aberdeen and Southern Pines were deserted. Everybody was at the ballpark.”

As Aberdeen’s player-manager, George Martin sent himself to the mound for the pivotal game. Inspired by the massive crowd, he pitched brilliantly, shutting out Southern Pines, 6-0. But it wasn’t Martin’s fastball that had turned the trick; it was his out-of-the-past, good luck garb. “George had put on his 1921 uniform. Of course! That explained all,” wrote The Pilot reporter. “You remember George Martin back in 1921. Burning ’em in. Foe to every opposing batsman. Striking ’em out with his change of pace. George in his 1921 clothes! What chance had Southern Pines?”

Aberdeen went on to defeat Vass-Lakeview three straight in a best-of-five series, breezing to the league championship. Playing a nifty first base, Martin contributed multiple hits in each game, including a tide-turning homer in game two — likely the ball now in the hands of David Keith. The Pilot attributed much credit for the series victory to Martin. “He not only guided his men well, but proved an example in the field and at bat, playing errorless ball and hitting with the best of them.”

Five years later, Martin died suddenly while working at his desk. He was just 36. The Pilot described him as one of “Aberdeen’s most beloved citizens,” and that he would always be remembered for his baseball accomplishments — especially the memorable ’32 game he pitched and won in a 1921 uniform.

“You should talk to Kam Hurst, George Martin’s granddaughter,” David Keith said. “I think she has his uniform.”

Hurst’s grandparents had lived on Pine Street in Aberdeen in a home Martin built in 1923. After he died in 1937, his widow continued to reside in the house for many decades. After Hurst’s grandmother’s death, the house remained in the Martin family. While making repairs in 2009, Kam and her husband, Ricky, spotted her grandfather’s long forgotten baseball gear in the attic, undisturbed since his death 72 years earlier.

Inside a timeworn black duffle were Martin’s cleats, still sharp enough to dig into a basepath, his glove — little more than a primitive leather slab — and a cap bearing the red letter “A.” Separately, there was George’s wool uniform, still wearable. The pinstripes, however, didn’t have the “A” insignia affixed to the players’ jerseys in the ’26-’27 team photo. This had to be George Martin’s 1921 uniform.

While Martin’s heroics highlighted the rousing finish of the Moore County League’s 1932 season, the eight team league didn’t last much longer. It would disband in 1934. The four-team Sandhills Baseball League tried to fill the vacuum, but with the Great Depression raging, it was difficult to cajole financially struggling spectators to drop money into a passing hat. A Memorial Day All-Star game that attracted a crowd of 500-600 resulted in paltry receipts of $14. Semi-pro baseball in North Carolina was beginning a gradual fade-out.

Also on the wane was Johnny Allen’s playing career. His final major league season in 1944 was the only one in which he recorded a losing record. He stayed in the game, however, becoming a minor league umpire. Once the bane of the “men in blue,” Allen became the chief ump of the Carolina League. He gave up the job in 1952, thereafter buying and selling real estate in St. Petersburg, Florida.

When not on the mound, Johnny Allen was personable, a good husband and father, and a generous contributor to charities, including the orphanage of his youth. While he could be nasty to those who cost him victories, in the fullness of time he claimed he mostly got sore at himself “because I think of a million and one things I could have done in the situation and didn’t do.” There may have been a third baseman, or two, who would be less generous.

Allen died in 1959 at the age of 54. Enshrined in the North Carolina Sports Hall of Fame in 1977, he was later named one of the best 100 players in the history of the Cleveland Indians. A ranking of the best baseball players born in North Carolina places him fifth. The four in front of him are in the Hall of Fame.

John Allen III, who lives in St. Petersburg, Florida, believes his grandfather should be recognized among baseball’s all-time greats, but is not, “because he didn’t kowtow to the press. In fact, he went out of his way to tell them how little respect he had for them. Boy, do we need more of those type of men today.”

While Johnny Allen’s relative standing in the ranking of baseball greats may be subject to debate, it is undisputed that he is the greatest ballplayer ever on a Moore County team. His exploits here — and those of George Martin on long ago Wednesday afternoons — become less ephemeral after laying eyes on relics like Martin’s glove, uniform, spikes, and the ball he smashed for a home run.

As James Earl Jones’ character Terence Mann reflected in Field of Dreams, baseball appeals to our longings for the past. “The one constant through all the years has been baseball . . . It reminds us of all that once was good and it could be again.”

It reminds us of a target on a basement wall.  PS

Pinehurst resident Bill Case is PineStraw’s history man. He can be reached at Bill.Case@thompsonhine.com.

The Bard of Pinebluff

The Bard of Pinebluff

Manly Wade Wellman,
our forgotten man of letters

By Stephen E. Smith

On a September afternoon 53 years ago, I was one of eight creative writing students who had gathered for the first time in room 301 of the Carlton Building on the campus of little Elon College. We were awaiting the arrival of our instructor, an adjunct professor unknown to me. A fellow student who was repeating the course offered a concise appraisal: “This guy has published a truckload of books.” And at that moment an imposing figure appeared in the doorway.

Manly Wade Wellman was 6 feet tall, barrel-chested and wide-shouldered. He appeared to be in his mid-60s, with graying hair combed neatly back from his broad forehead. His face was round, open, accentuated with heavy eyebrows and a prominent nose below which was cultivated a tweedy Clark Gable mustache. I noticed immediately the peculiar way in which his eyes reflected light. The very tops of his irises flickered, suggesting an authentic inner illumination. He was dressed neatly in a frayed sports jacket that matched his mustache. A glasses case was stuffed in the pocket of his shirt, the collar of which was pulled tight by a bolo tie clasped with a silver and turquoise medallion.

“I’m Manly Wade Wellman!” he announced, surveying the anxious faces staring up at him. Then he launched into a story that went something like this: When Manly’s father was a boy of 8, he was taken by his father to attend a lecture by Mark Twain. Father and son found seats in the front row of the auditorium, and when the lights came up, the illustrious raconteur stepped to the edge of the stage and removed a folded paper from the inside pocket of his white linen jacket.

“I would like to read a poem,” Twain announced. The audience, who had not gathered to hear America’s foremost humorist read a poem, was silent for a moment, then burst into laughter. Annoyed, Twain held up his hand. “No,” he said, “this is a serious poem.” Again, the audience laughed. Twain frowned, crumpled up the paper, and tossed it onto the stage, where it remained until he had concluded his lecture. According to Manly, his father spent the evening staring at the wadded-up poem, and at the conclusion of the lecture, he was taken by the hand and led from the hall, thus consigning to the dustbin what may have been a priceless scrap of American literature.

More than half a century later my initial impression of Manly and the story he told during that first class session remains with me, long after the yarns of other teachers, friends and fellow writers, accomplished storytellers all, have faded from memory. Manly no doubt intended the story to serve as an analogous revelation, but what I recall most vividly are the sensuously effective images: that long-ago evening when the romantic possibility of a white-haired Twain still existed in America, the irreverent audience, that small boy longing to rescue the Great Lost American Poem, all of it spun forth in Manly’s raspy baritone, rising and falling with modulations of passion, poignancy, and a lingering trace of regret. He grumbled his way through the description, exposition and complications, all elaborately embroidered, and when he arrived at the story’s obvious climax, his voice rose suddenly to a crescendo.

“What would I give to know what was written on that scrap of paper?” he roared. “If only my father had reached out to grab it!” — and Manly’s left hand, which I noticed was stunted, the ring finger and pinky withered, suddenly darted out to grab the metaphysical poem. And there it was: almost everything I’d need to know about structuring a narrative.

This was, of course, a well-worn tale, polished and perfected with many tellings — for Manly Wellman, was, first and foremost, a teller of tales, a believer in recreating the moment in words and images. He was also a genuine artist, and the effect was calculated. It was his purpose to communicate in a sequence of rich, concise images so vivid as to be indelible on the impressionable mind. And, in my case, he was successful. I recall at least two later occasions when Manly offered the same story in which he changed minor details to better suit the occasion. Each telling offered fresh particulars and new insights that served to enliven the narrative. Like all accomplished writers, Manly was always in the process of rehearsing and revising, and I took note of the most important lesson a writer can learn — revise, revise, revise.

When class was dismissed, I beelined it to the library and looked up Manly Wade Wellman in Books in Print. My fellow student had been correct — Manly’s books occupied a couple of pages of the reference work. From there I wandered into the stacks and ran my index finger along the spines of 10 or 15 glossy covers with “Wellman” printed in big letters. I selected Not at These Hands, a mainstream, slick-covered novel published by Putnam, a big-deal New York house, and checked it out. I read the bio information on the dust jackets of several other books, mostly science fiction and fantasy, and learned that Manly had been born in Portuguese West Africa in 1903, and that he had ancestry that reached back through the Civil War to Colonial Virginia. He’d lived in Utah, New York and three or four other states, but he’d never stayed in one place for long until he settled in North Carolina after World War II. One of the bios identified Pinebluff, N.C. — wherever that was — as his family home.

His books included biographies — he’d written Giant in Gray, the definitive work on Confederate General Wade Hampton — and there were regional histories, juveniles, mystery novels, science fiction and fantasy. He’d published hundreds of stories in pulps in the ’30s, including more than 50 stories in the legendary Weird Tales, and he’d bested Faulkner in the 1946 Ellery Queen Mystery Magazine Prize. When it came to writing, he was indeed a jack-of-all-trades. I was duly impressed. Who could ask for a more experienced teacher? Or as it turned out, a better one?

Manly Wellman was fiercely proud of his stature as a writer. “Outlaws,” he called us, generously including his students in the designation, and he had the rare ability, from the moment he stepped into the room, to instill in each student the strong belief in self that made him a successful writer and a charismatic presence.

Each Tuesday morning that semester, I’d drop a story in the campus mail, and Manly would critique and correct it and hand it back after reading it aloud to the class. I was no doubt an annoyingly eager student, and on a couple of occasions I submitted two stories in one week. “You’re like the tiger who’s tasted blood,” Manly laughed — and in fact, I was spending entirely too much study time writing fiction. Not all my stories were keepers, but one was good enough to win a state-wide short story contest that earned me $100 and a magazine publication. When I met with Manly after winning the magazine prize, he asked what my major was. I told him it was sociology. “Change your major to English!” he barked. “There’s no such thing as sociology!”

The class met in a tall-windowed seminar room tucked away in a forsaken corner of the campus. No other classes met on that hall, and we felt we were truly in hiding. We loved being Manly’s “outlaws,” and he lavished attention on each student, managing to be critical while encouraging the better writer within. Every story he returned included a personal note banged out on an old portable, ribbon-weary Royal Quiet Deluxe he toted with him everywhere.

Today, leafing through the yellowing pages of the crude stories I wrote that semester, I find Manly’s corrections, suggestions, rebukes and flattery everywhere scribbled in the margins and between the lines. One of his notes reads in part: “In its organization and the early stages of its writing, it (my story) strikes me as having a good degree of merit, with a particularly intriguing point-counterpoint of almost slapstick humor and gray sadness . . .”

While I was profiting from Manly literary expertise, I knew nothing of his sojourn in Moore County. It would be another nine years before I’d discover the charms of the Sandhills and move from the coast to Southern Pines. And 70 years after the Wellmans — Manly, Frances and son Wade — relocated from Pinebluff to Chapel Hill, longtime resident John Mills, who was a child when the Wellmans called Moore County home, is one of the few locals who remember the family well.

“Manly moved to Pinebluff shortly after the war in 1946 or ’47, and he grew to know and love Moore County during the four years in which he lived here,” Mills recalls. “Manly’s father was a doctor — we had a lot of doctors who used to spend their winters here — and Manly’s father built a log bungalow with a big fireplace that covered one wall. When Manly’s father moved to Raleigh, Manly and his family moved into his father’s bungalow. During his time in Pinebluff, whose population in those days was about 300, Manly served as town clerk and was a member of the Lions Club and the Boy Scout troop committee. During this period, he published The Sleuth Patrol (1947), Mystery of Lost Valley (1948), Raiders of Beaver Lake (1949), and Haunts of Drowning Creek (1951), which was dedicated to my father. Manly moved to Chapel Hill in June 1951 to be near the university library and so that his son Wade could get a better education.”

Manly completed The Wild Dogs of Drowning Creek (1952) while living in Chapel Hill, where he also wrote The County of Moore, 1847-1947 (1961) and The Story of Moore County (1974).

Mills has in his possession notes Manly made concerning an incident that took place in the northeastern corner of Moore County at a location known as Big Poplar. Reported in the October 1871 issue of Harper’s Monthly, the altercation involved members of the “White Brotherhood” who attempted to lynch Republican John Campbell. Federal agents got wind of the plot and arrested the perpetrators, marching them to Raleigh to stand trial. It is unclear whether Manly was researching Moore County history or if he intended to expand the Harper’s Weekly article into a book, but he noted that the story was accompanied by a woodcut “showing John Campbell kneeling with rope around his neck and surrounded by masked, hooded and robed figures.”

While living in Pinebluff, Manly became friends with children’s author Glen Rounds, who lived a few blocks away. The two professional writers maintained a congenial if competitive friendship. “There was a knock at my door,” Rounds once told me, “and when I opened it there was this guy who says, ‘I’m Manly Wade Wellman.’ And I said, ‘So what?’” 

Tit for tat, Manly would later tell me: “If Glen weren’t so busy trying to be a damn cowboy, he’d be an all-right guy.” Nevertheless, Manly requested that Glen speak on his behalf when he was honored at the North Carolina Writers Conference in 1982, and Glen was a frequent visitor at the Wellmans’ home in Dogwood Acres in Chapel Hill. “Glen stops by for a free drink when he’s in town,” Manly claimed. “He’s courting a lewd nurse who lives in Carrboro.” Glen was an irrepressible raconteur in his own right, and I count myself fortunate not to have been trapped in the same room with the two of them.

Manly’s generosity was boundless. He was my teacher, mentor and close friend. He encouraged me to apply to the Master of Fine Arts program in creative writing at UNC Greensboro and wrote an eloquently persuasive letter recommending my acceptance. When I began my college teaching career, he drove long distances to meet with my classes to instruct and inspire them as he had me, and he continued to critique my stories and give advice and guidance. I traveled to London with Manly and Frances when he received an Edgar Allen Poe Award, and I had a front-row seat at the premiere of a movie based on his story collection Who Fears the Devil? On several occasions he and Frances visited with me in Southern Pines.

Manly died in 1986. When he was inducted into the North Carolina Literary Hall of Fame, Frances asked me to speak on his behalf. I was proud to do it. I did the same for the late Glen Rounds a few years later. I can’t think of either man without recalling Sir Walter Scott’s lines “. . . When, musing on companion gone/We doubly feel ourselves alone.”

As for Manly Wade Wellman the writer, the author of over 90 books, I’ll leave the literary judgments to my betters. I believe, however, that he made an important contribution to the science fiction and fantasy genre. Writers as disparate as Stephen King and Fred Chappell have acknowledged Manly’s influence. Without a doubt, he was the teacher who appeared at the right moment in my life. There were literary luminaries in Chapel Hill and up Interstate 85 in Greensboro, but I would have been lost in such settings.

Whenever I think of Manly, I recall a cold January afternoon during the final days of that first creative writing class at Elon. It had begun to snow large, wet flakes that were fast piling up against the window glass in room 301. Manly had to drive back to Chapel Hill on a meandering Highway 54, so he dismissed class early and I walked with him to the faculty parking lot on Harrison Avenue. Before getting into his car, he paused a moment and recited a passage: “He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight . . . It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves . . .”

When he’d finished, I asked the source of the passage.

“It’s from James Joyce’s story ‘The Dead.’ You should read it,”
he said.

I watched his taillights disappear in the snowstorm before walking to the library, where I checked out Dubliners. That night I read it cover to cover.  PS

Almanac

March

By Ashley Walshe

In March winter is holding back and spring is pulling forward. Something holds and something pulls inside of us too.

— Jean Hersey

March is an age-old prophecy: a great thaw followed by a riot of life and color.

Some said it would start with a single daffodil. A field of crocus. The soft warble of a bluebird.

All the signs are here. And in the bare-branched trees, where wild tangles of dead leaves resemble papier-mâché globes, newborn squirrels wriggle in their dreys, eyes closed.

Weeks ago, winter felt eternal. The cold air stung your face and fingers. The world was bleak and colorless.

Now, the red maple is blooming. Saucer magnolia, too. You build the last fire, sweep the hearth, return to the garden and its wet, fragrant earth.

Frost glistens in the morning light, but you know it’s true — that spring is coming. You know because the birds know. They cannot help but blurt it out.

Beyond the flowering quince, a woodpecker drums on a towering pine.

A towhee gushes drink-your-tea.

A robin whistles cheerily, cheer up, cheer up, cheerily, cheer up.

Soon, spring peepers and chorus frogs will join the band. The first bee will drink from the first hyacinth flower. A young squirrel will open its eyes.

Sunlight kisses wild violets, purple dead nettle, tender young grasses. Everywhere you look, you notice a new warmth, a new softness, the gentle pulse of life. By some miracle, spring has arrived. A sweet mystery born from the icy womb of winter.

A Gardener’s Luck

Let’s talk about three-leafed clover (genus Trifolium), a flowering herb in the legume family that just might be what your lawn or garden has been missing. Common as weeds — and often disregarded as such — clover can grow in most any climate, tolerate poor-quality soil and resist most pests and diseases. Here’s the best part: clover can “fix” spent patches of earth by restoring nitrogen levels. In other words, it’s a natural fertilizer and often is used as green manure crop.

Using clover as a ground cover between garden beds will also attract pollinators. Mix some clover with your grasses and your lawn will look greener. An added bonus: It’s impervious to dog urine. Even if you never find a four-leafer, that’s some good garden luck.

Spring Forward

Daylight saving time begins Sunday, March 13. Longer days inspire evening walks, birding, a quiet hour in the garden. Notice what’s flowering: breath-of-spring (winter honeysuckle), brilliant yellow forsythia, lemony scented star magnolia. Notice what needs to be pruned: ahem, the rose bush. Although the vernal equinox occurs Sunday, March 20, spring has been here for weeks, present in each glorious inhalation. Allergy season? Coming soon.  PS