The Art of Making Merry

THE ART OF MAKING MERRY

The Art of Making Merry

A special feel for Christmas

By Deborah Salomon

Photographs by John Gessner

‘Tis said that on a crisp, clear December night the lights on Evon and Jerry Jordan’s showplace home are visible from the International Space Station — hyperbole until viewed with roof lines draped in tiny white lights and a lineup of trees across the façade.

Christmas is a full-time job for the Jordans and their helpers. Half a dozen indoor trees plus those outside — the largest overlooking the pool — illustrate how these great-grandparents make an art of making merry.

The dozen trees or maybe more

Are decorated tip to floor 

With ornaments from every child

Rambunctious, meek and mild.

“Evon’s always had a special feel for Christmas,” Jerry says. “She’s decorated ever since I’ve known her.”

Such a show demands an audience: “I’m one of eight kids,” Evon says. That adds up to more cousins, in-laws, nieces, nephews than a five-legged dog has toes. Forty, to be exact, who visit regularly.

Some tree themes and colors change from year to year, but the Jordans aren’t into silver and royal blue Picasso-esque ornaments.

Holiday greenery

Adds to the scenery

But the dominant color

Just has to be red,

Including the coverlet spread on a bed.

The 10-foot tree rising beside a graceful hallway staircase illustrates another Christmas décor principle: Too much is never enough.

Baubles and bangles

Ribbons in bows,

Tinsel, poinsettias

Rows upon rows . . .

At parties guests usually gravitate to the kitchen, right? The Jordans’ has a marble-topped island the size of Manhattan.

Their kitchen is white as a Christmas Eve snow,

Here’s where for cookies Santa surely will go.

Except last year brought a buffet surprise —

Exotic yummies from the land of the Thais.

Beauty, love — all of the above — and a creche complete the Jordans’ holiday scene because, as Jerry says, “That’s what Christmas is all about.”

Cup o’ Joy

CUP O' JOY

Cup o' Joy

Served hot, with a side of sweet

By Jenna Biter     Photographs by Tim Sayer

Welcome Old Man Winter’s cold, dark days and nights the delicious way by sipping hot drinks and nibbling tasty treats in the great indoors. We asked eight local coffee and bake shops to warm our souls with piping-hot drinks and seasonal sweets from their winter menus. They delivered like Santa on Christmas morning.

Agora Bakery + Café

15 Chinquapin Road, Pinehurst

Red and green. Ribbons and wrapping. Tinsel and tree lights. This holiday season, Agora is celebrating with another classically Christmas pairing: booze and eggnog. Co-owner Ginny Tran baked up a bourbon hot chocolate twist on the café’s quintessential, two-bite-size macaron. Front of house lead, Ali Yap, concocted a silky-smooth eggnog latte to wash the crunchy confection down.

Buggy Town Coffee

201 S. McNeill Street, Carthage

Just like that, owners Darryl and Meg Russell are celebrating a decade of Buggy Town Coffee. It’s another December, and the café’s festive favorites have reappeared on its winter menu. Enjoy a practically plate-size molasses ginger cookie finished with crystallized ginger bits. For optimal levels of cheer, dunk chunks into a steaming hot mug of velvety eggnog latte. Dip, sip, repeat.

Crossroads Coffee Co.

133 Main Street, Vass

Sing your way to Crossroads for a Christmas carol in a cup. Owners Kasi Caddell and Mollie Jolly (also celebrating 10 years in business) are striking the harp and joining the chorus with the return of their beloved Fala Latte, a holiday harmony of gingerbread and maple. Warning: Consumption could result in decking the halls and spontaneous caroling. Between singing and sips, enjoy the nostalgic taste of a Little Debbie Christmas Tree Cake reimagined as a cake pop.

Amor Ciego Coffee Co.

175 W. Pennsylvania Ave., Southern Pines

Carolina Holguin Leal likes to bring flavors from her native Colombia to her customers at Amor Ciego. This winter, she’s baking milhojas, Spanish for “a thousand leaves” and aptly named for the dessert’s layers and layers of puff pastry. Leal’s take on the Latin American favorite with French roots features a pastry cream filling, a smooth and glossy smear of caramel-like arequipe and a coconut flake garnish. She’s pairing the dessert with a naughty-and-nice returner, the spiced bourbon latte.

DeLucia’s Bake Shop

4245 Seven Lakes Plaza B, West End

A Yule log was a select piece of timber burned in the hearth on the winter solstice, the longest night of the year. With its scratch-made chocolate sponge cake, mascarpone whipped cream filling, chocolate ganache topping and sugared rosemary and cranberry garnishes, DeLucia’s dessert-ified Yule logs can keep your sweet tooth satisfied all season long. Slice off a sliver and enjoy it with a chestnut praline latte.

The Fox Brew Coffeehouse

2145 Foxfire Road, Suite 11, Foxfire Village

The Fox Brew is celebrating its first Christmas in business. Owner and operator Denna Schreiner is marking the occasion with a whole lot of gingerbread, minus the cumbersome house-making. Cut into a hot and fresh gingerbread waffle drizzled with a cream cheese glaze. Continue the festive fun with a Gingerbread Man latte, featuring notes of hazelnut, vanilla and of course, gingerbread.

Maisonette

290 S.W. Broad Street, Southern Pines

Maisonette is making your holiday season merry and minty. Sip on a Salty Snowflake Latte, a back-by-popular-demand oat milk drink inspired by those classic white chocolate-covered peppermint pretzels. To go with the drink, head chef Monica Bryan created a Whoopie Pie from cakey chocolate cookies and a white chocolate and peppermint buttercream filling. A little salty, a little sweet, a lot of yum.

Pine Scone Cafe

116 Brucewood Road, Southern Pines

905 Linden Road, Pinehurst

At Pine Scone, the Grinch steals more than just Christmas; he runs away with the month of December. Owner, operator and recipe creator Rae Anne Kinney and her coffee-slinging crew are back serving No. 1 seasonal best-seller, the Grinch scone, a triangle of crumbly baked goodness, featuring crème de menthe, white chocolate and candy canes. Double down on mint and pair it with a peppermint mocha (white or dark chocolate, take your pick) with crushed candy canes sprinkled on top.

Poem December 2025

POEM

A Christmas Night

It was a cold night

And there was ice on the road,

Our car started to slide

As it moved up the small hill,

And the headlights caught the old man

In a thin jacket

Pushing a cart filled with sticks.

There were some bundles and a package

Piled on top, and the old man

Grinned and waved at us

As he pushed the cart

Into the yard of the little house

Where a single light shone.

The tires gripped the road

And we drove on into the darkness,

But suddenly it was warm.

Season of Giving

SEASON OF GIVING

Season of Giving

By Lara Sierra     Photographs by John Gessner

The spirit of giving, celebrating all the good in this world, is never felt more profoundly than during the holidays. We’re fortunate to have a plethora of charitable organizations — far too numerous to mention here — that embody this spirit every month, every day, of the year. They thrive because of the dedicated and willing volunteers who selflessly share their compassion and talents.

Each of the volunteers featured here was quick to insist that they were just one of many who donate precious time to help others. To us, they represent a veritable legion of the kindhearted. They spoke about their pride, not in awards or accolades, but in the work itself and the satisfaction and enjoyment they gain from it — the person who says a quiet thank you; a beautiful, thriving garden; the look on an animal’s face going home with its forever family; the bond fostered between a human and a horse. Without fail, they talked about the relationships they built. Their service delivers a simple message: A life of giving is the best present of all.

Habitat for Humanity
Sandra Thomas

When Thomas was no longer working full time, “I just couldn’t sit around at home,” she says. She saw an advertisement for a volunteer orientation at Habitat for Humanity of the NC Sandhills. Ten years and 5,000 hours later, she’s going to have a street named after her in a development in Aberdeen. “Habitat’s goal is to get people into affordable housing,” she says. The pathway to homeownership often involves sweat equity, contributing to building someone else’s home. Thomas works full shifts three times a week — and any other time she can get there. “I have so much gratitude to the people who donate goods and the people who buy, which is how we raise money. Habitat is up there with my commitment to church and my commitment to God,” she says.

On days when she’s not volunteering, Thomas likes to visit the latest Habitat project. “The new development has eight to 10 houses with a circular drive,” she says with obvious pride. “The camaraderie with the people around here is special. Building houses isn’t getting any cheaper. We try to keep our prices reasonable, but it’s hard. My hope is that people can always be kind, always be thoughtful.”

Sunrise Theater
Leigh Bozich

When Bozich inherited a house and moved to Moore County from Florida, she was a stranger in a strange land. A big movie fan, that feeling didn’t last long once she became involved with the Sunrise Theater. “It gave me access to the community,” Bozich says. “I’ll work concessions, in the box office or as an usher. You get to see everyone in town. Really, it gave me a connection, which is kind of what I needed. And I got to see movies that I wouldn’t normally be able to see at the big movie theaters.”

Another coveted role is sitting on the film committee. “Working out what films people want to see isn’t always easy. We bring diverse films and diverse programming that sometimes are harder to find. I personally tend to seek out socially conscious things. Sometimes you just kind of throw it out there and see if they come.” Leigh has an obvious passion for her subject matter, but what is it that keeps her coming back? “I get that connection with our community,” she says. “And I get to share my love of film with others.”

Prancing Horse Center for Therapeutic Horsemanship
Barbara Brazer

The Prancing Horse Center for Therapeutic Horsemanship is a refuge of calm amid its 15 horses, two goats, a cat, and a part-time dog. “We are a therapeutic horse facility,” says Brazer. “Horses have a very good intuitive aura about them, and they can bond to people with all kinds of issues — physical, autistic, mental, cognitive, stress-related and so on. But we’ve expanded a lot from just horse riding lessons. We wanted to do more. For example, we had a group of all wheelchair users. They came out and brushed the horses, fed them treats and just spent time bonding with them.”

Prancing Horse now includes a military veteran’s program. “The veterans don’t necessarily ride but do a lot of that groundwork, brushing and so on, just generally interacting and getting that emotional regulation that helps with anxiety and PTSD. Some people immediately bond with a horse, and it’s lovely to watch. Just being around the animals gives people benefits.” As for the goats? “Well, really, they just provide comic relief,” Brazer says.

She began volunteering at Prancing Horse shortly after moving to Moore County. “It brings people so much joy, especially the kids,” she says. “Some start off absolutely terrified, and usually by the end they don’t want to get off the horse. Personally, seeing their faces light up is what gives me the benefit.”

Moore Free & Charitable Clinic
Shirley Baldwin

Baldwin, a retired nurse, has been volunteering at the Moore Free Clinic for 17 of the 20 years of its existence. “I started as a triage nurse and now I do education for diabetes, high blood pressure, nutrition, that sort of thing,” she says. “The reality is there are a lot of individuals who cannot afford their health care. Because really, if you had to choose between health insurance or putting food on the table, what would you do? We give fantastic quality primary care for people who can’t afford to see a doctor otherwise.”

Supported entirely by donations and volunteers, the clinic offers a wide range of services. “This, in essence, is a doctor’s office,” says Baldwin. “We now have a dental clinic. A gynecologist comes in and volunteers. We have an optometrist and someone who’ll be coming in to do physical therapy. We have medication in our pharmacy. It runs the whole gamut.”

It’s more than the impressive range of care that drew her to the clinic. “I enjoy this. I don’t plan on retiring until they kick me out because I get the satisfaction of helping those who can’t help themselves,” says Baldwin. “A former patient just came in and said, ‘I’ve gotten off track and I need to see you.’ Or someone might just say, ‘Thank you for listening.’ And that’s a million-dollar payment to me.”

Weymouth Center for the Arts & Humanities Dirt Gardeners
Lucy Meldrum

“I was a vegetable gardener in New Jersey, but it’s hard to grow vegetables down here,” says Meldrum. “Everyone thinks they know gardening until they move here!” She’s gotten her gardening fix helping to maintain the grounds surrounding the Boyd House, the elegant home of the Weymouth Center for the Arts & Humanities. The work of keeping the estate looking as cared for as it did in the days of Katharine and James Boyd falls to the group known as the Dirt Gardeners. “I’ve been volunteering for around 13 years,” says Meldrum. “The work we do is your usual garden maintenance. We clean up the front, put in plants and do a lot of weeding.” They also propagate plants for the annual plant sale fundraiser.

Spending so much time with the land, Meldrum notices the intricate changes that increasingly affect how things grow. “Everything is growing late this year,” she says. Projects and plantings go hand in hand. She points to a pathway the Dirt Gardeners are putting in for children. “There’s always something that people can do even if they don’t know much about gardening,” she says. “Soon enough everyone enjoys working with the plants — seeing them grow, making a place thrive.”

Sandhills/ Moore Coalition for Human Care
Donna Blasingame

“This place has been a lifeline for me,” Blasingame says over the hubbub of trucks, volunteers and customers queued up outside the Coalition for Human Care. Customers are asking if the doors can be opened early; tables are being moved to make way for suitcases; trucks are waiting to park and unload. All the while, Blasingame carefully weaves her way around the site, answering questions, repricing items and checking in on her fellow volunteers. “We are affiliated with 70 churches, so we are always busy, and every penny stays in Moore County,” she says.

The Coalition has four stores, each selling different wares, from home goods to electricals, budget buys to a slightly more expensive boutique. They even sell wedding dresses. One store is called Miss Hallie’s House, named for the woman who donated her house to the Coalition in her will. “We are very blessed with donations,” Blasingame says, “but we still need people to support us because in order for the coalition to work we need volunteers. We are so busy.”

Blasingame’s husband passed away two years ago. “I’m among very supportive people. That’s why this place has been such a lifeline,” she says. In a back room of one of the stores, volunteers celebrate a birthday with doughnuts and friendly chitchat. Before long, they are all up, sorting, pricing, moving and doing their bit.

Moore Humane Society
Karen Kocher

“I started volunteering after I was at a friend’s house and a farmer brought in a crate of six puppies,” Kocher says. “We took them over to the shelter and I realized that’s just a day in the life of a volunteer — in comes someone who needs help with the animals, and in come people who adopt them. I thought, what a joyous place, so I signed up straight away.”

The Moore Humane Society, a no-kill shelter, quickly became the place where she invested her time. That connection has lasted nine years. “What amazes me about volunteering there is discovering how many people truly love animals enough to give up their own time to care for them,” she says. “There are people who’ve donated hundreds and hundreds of hours. To see the love that these people have for animals that are not their own is special. So I’ve found my people, the people who really feel that every animal deserves an awesome life. I’m so incredibly grateful to be able to see the little look on the face of an animal when they get the leash put on to go to their new home. Seeing the delight of the animals and their owners.”

And what does the society need from the community? “Everything we get is from donations, and every little bit counts. So if people feel compelled to donate funding or unused food, beds, leads and so on, they can drop it off. And of course, we also need volunteers. We could always use the help.”

Sam

SAM

Sam

A kid’s Christmas with an all-time great

By Bill Case

I was 17 and in my senior year at Hudson High School, in the Ohio town of the same name, when I was informed by my parents, Bea and Weldon Case, that we would be spending the 1965 holiday season in Boca Raton, Florida, where they had recently bought an oceanside condominium. I harbored mixed feelings about leaving my hometown during Christmas break — I would miss hanging out with my friends and, for me, the snow blanketing northeastern Ohio reflected the spirit of the holidays better than palm trees.

But there was an undeniable plus to a Christmas vacation in Florida. My folks were members at the Boca Raton Hotel & Club and they assured me I could play golf there. I loved golf and had developed a decent game, sporadically breaking 80; good enough to start on Hudson’s golf team the previous spring. With the ’66 season fast approaching, a few rounds in the sun would give my game a boost.

I started playing golf when I was 8, mostly with my mother, who demonstrated considerable patience with my beginner’s futility. Improvement was agonizingly slow. When I was 10, I finally broke 60 for nine holes, carding a 59. Prior to this personal breakthrough, the legendary Sam Snead had posted a 59 of his own at the age of 46 in the Sam Snead Festival at The Greenbrier where The Slammer served as head professional. As the first sub-60 round shot in a professional event, Snead’s achievement had caused a big buzz in golf circles. Though my score was for only nine holes, our respective 59s created a sort of bond between Sam and me, if only in my imagination.

As a result, Snead became one of my favorites. Mesmerized by the rhythm of his swing, I sought him out in Ohio tournaments like Akron’s American Golf Classic and the Cleveland Open. The year before our Boca vacation, I followed Sam’s group at a practice round during the Thunderbird Classic in Rye, New York. Playing with the seven-time major champion were three young pros I’d never heard of. I knew from reading Snead’s autobiography, The Education of a Golfer, that he was more than happy to take on all comers provided there was money on the line and the wagers to his liking. The chapter titled “Hawks, Vultures, and Pigeons: Gambling Golf” revealed his betting tips. The grousing I overheard at the Thunderbird from his playing partners (i.e., pigeons) confirmed that Sam, per usual, was cleaning up.

On the eve of my first round of golf on our Florida vacation Dad said to me, “There’s a good chance you’ll see Sam Snead tomorrow. You know, he’s Boca Raton’s pro during the winter.” The prospect of encountering Sam, perhaps even meeting him, jumpstarted an adrenaline rush.

I would be going to the course as a single, at least on that day. Mom was finalizing Christmas preparations and Dad was needed on a business call, immersed as he was in expanding the business of Mid-Continent Telephone Corporation, a holding company he and his three brothers founded in 1960. His duties as Mid-Continent’s president left little time for golf, but like many corporate executives, Dad did enjoy playing in pro-ams. He drew several of the game’s greatest as his partners, including Jack Nicklaus, Gary Player, Julius Boros and Tom Watson, twice. On these occasions, Dad, sporting a 14 handicap and a unique golf swing, generally worked his way around the course without embarrassing himself. He attacked the ball with a ferocious fire-and-fall-backward lunge that left observers scratching their heads. Prior to his second game with Watson, Tom greeted him this way: “I’m sorry, sir. I’ve forgotten your name. But I’ll never forget that swing!”

Dad did find time to drive me over to the club in the morning. He told me to take a caddie and handed me $10 to pay the man. I considered this rather extravagant since I generally received just $6 for a double-bag loop at Hudson’s Lake Forest Country Club, but it was Dad’s money, so fine. When I arrived on the putting green at the Boca Hotel’s course, I met my caddie, Jack, a rawboned, wizened smoker probably four times my age. “It’ll be slow out there since you’re a single,” he cautioned me. “And the group in front of us is a fivesome.” A fivesome! That seemed peculiar for a posh resort. “Won’t they let us play through?” I asked.

Following a prolonged drag on the vanishing stub of a Marlboro, Jack shook his head. “Not likely. It’s Mr. Snead’s group.”

It was then that I peered over my shoulder and saw Sam Snead in his signature coconut straw hat, rolling a few putts. “Well,” I thought, “I’m in no hurry, and I’ll get to see Sam hit plenty of shots.”

And that’s what happened for the first two holes. But while waiting at the third tee for Snead’s group to clear the fairway, I saw him, roughly 250 yards away, misfire on his second shot. He angrily launched his club high into the air toward the green. It seemed eons before the whirly-birding iron fell back to Earth — a remarkable, but troubling, sight. The great man seemed in a foul mood. Perhaps Sam was on the losing end that day.

When Jack and I mounted the tee of the sixth hole, a 185-yard par-3, I saw Sam off to the side of the green with his hands on his hips, shaking his head impatiently. His body language left no doubt he was exasperated. I gathered his displeasure stemmed from the inability of a player in his group to escape a greenside bunker.

As I took all this in, the agitated Snead turned in my direction, raised his arm, and waved at me to hit up. An electric shock coursed through my body at the prospect of playing through the immortal Slammer and his fivesome. My hands shook so much it was a struggle to tee up my ball.

Somehow, I steadied enough to strike the shot solidly with my 4-wood. The exhilaration I felt watching the ball fly onto the green and spin to a stop 20 feet from the pin was overwhelming. This tee ball, struck 60 years ago, remains the single most memorable shot of my golfing life. My spikes barely touched the ground as I galloped off the tee toward the green. And even the wheezing Jack found a renewed spring in his step.

At the green, I thanked Snead and his playing partners profusely for their courtesy. But Sam, still miffed, did not react. No “nice shot,” no “take your time,” nothing, except his glowering demeanor. Was it something I’d done? Had I appeared impatient in waiting to play? Anxious to exit Snead’s presence and without lining up, I lagged my putt to a foot of the hole and tapped in. Jack and I double-timed it to the seventh tee as I hyperventilated.

When Dad picked me up after the round, I told him about the sixth hole in vivid detail. “Isn’t it great you got to see one of the greatest golfers of all time, Samuel Jackson Snead?” he said and smiled. “And isn’t it great you rose to the occasion by hitting a good shot? The only thing better would be playing head-to-head with Sam.” I appreciated Dad’s praise, but this “head-to-head” stuff seemed odd.

Christmas morning arrived two days later. I had asked my folks for a Ben Hogan “Sure-Out” model sand wedge (golfers of my vintage will recall its huge flange). The “Sure-Out” had been the difference maker for Julius Boros in his victory at the 1963 U.S. Open. To my delight, the coveted wedge, adorned with a bow around its mammoth flange, was my final present.

Or so I thought. That was when Mom, with a mischievous glint in her eye, said, “Oh, Weldon, don’t we have another small gift for Bill?”

“Almost forgot, but it’s right here,” Dad reached into the pocket of his robe, pulled out an envelope and handed it over. I assumed that inside was a check, maybe for as much as $25.  But instead I found a note in Dad’s handwriting. It read, “You have a tee-time tomorrow at 9:40 a.m. at the Boca Raton Hotel & Club. Your playing partner is Samuel Jackson Snead.”

I was thrilled, stunned, grateful, humbled and over-the-moon. A round with Sam Snead was the most incredible present a young aspiring golfer could imagine. During his epic career, Snead would win 82 PGA tour events, tied decades later by Tiger Woods for the most all-time. He had been triumphant in every important tournament except the U.S. Open where, to his frustration, bizarre occurrences had torpedoed several near victories. His name belongs among the greatest of all time with Jack Nicklaus, Woods, Bobby Jones and his contemporaries Ben Hogan and Byron Nelson, both of whom, like Sam, were born in 1912.

My initial elation was followed by a second wave of worry, intimidation and even dread. Aside from the 4-wood shot, my recent exposure to the Slammer had not been particularly agreeable. If I played like a dog, like the poor soul who couldn’t escape the bunker two days before, would Sam treat me with disdain?  He’d certainly been frosty enough on the sixth green.

After a fitful night’s sleep. Dad drove me over to the club the next morning. Instead of dropping me off, he parked the car and escorted me to the putting green, where he snapped my picture, a lanky 160-pounder on a 6-foot-1 inch frame. At the appointed time, Dad and I entered the pro shop, where we met Sam. He couldn’t have been friendlier.

“Nice to meet you,” he greeted us in his smooth Virginia mountain drawl. “Bill, I hear you play on your high school team. That’s great. It’ll be just the two of us; we’ll have a good game. And just call me Sam.”

Out to his golf cart we went. Before we teed off, Dad took another photograph, this time of Sam and me. I confess, I’ve lost track of it but I well recall a broadly smiling Snead, nattily attired in red slacks, navy blue alpaca sweater and the ever-present straw hat sitting beside me, who was clearly starstruck.

Boca’s course was jammed, and I envisioned a protracted five-hour round. But when Sam and his familiar straw hat came into the view of players in the group ahead, they invariably waved him through. It was as if the Red Sea parted for us as we sped through foursome after foursome. Since Snead graciously allowed me to hit first off each tee, the golfers in our wake may have concluded I was winning our friendly match. Far from it.

Playing from the regular white tees, Sam nonchalantly made par or birdie on every hole. I was doing OK, mostly avoiding serious trouble. Then I made an unforced error by cutting things too close in laying up short of a stream crossing the fairway. After my ball toppled over the edge and into the water, Sam pithily observed, “If you’re going to lay up, lay up.” Over the years, I have often repeated his advice to players making the same mistake — and I let them know who gave it to me.

Sam was pleasant, but he tended to let me take the lead in our communications. And I felt some pressure to fill the airspace. I had one advantage making conversation — I had read The Education of a Golfer. I asked Sam questions about how he went about fashioning a club from a swamp maple tree limb during his youth. I asked about a boxing match he fought during his teens. And, of course, I fished for details about that incredible 59. The round, it turned out, could have been one shot better since Sam had missed a 2-foot putt.

Then I delved into the betting chapter of the book. Sam quickly warmed to this subject, regaling me with colorful anecdotes about how sharks he encountered tried to fix bets to their advantage. One sought additional strokes by claiming he had recently arrived in Florida from the North and hadn’t touched a golf club all winter. Actually, the hustler had been playing in the Sunshine State for weeks, even trying to conceal his tan from Snead by whitening his hands and face with corn plaster. Sam countered by carefully feeling the man’s calluses when shaking his hand. “When those calluses are thick, that tells you the man’s been playing plenty,” he said.

At one point on the front nine, Sam struck a shot he considered not up to his standard. He muttered, “I just can’t play my best unless I got a bet going.” I responded rather cheekily, “Well, I am sorry, Sam, that I won’t get to see you at your best.” Silence from the Slammer. To my surprise, I was hitting my drives within 20-25 yards of Sam’s. Since he was then 53, I figured he must be losing yardage off the tee. Wondering how much, I began posing a question with, “Now, when you were at your peak . . . ”

As the words left my mouth, I knew this was a misstep. Even assuming his peak was behind him, Snead wasn’t about to acknowledge it. Besides, Sam was still playing great golf in 1965. He finished 24th on the PGA tour money list (there was no Senior or Champions tour available in ’65) despite playing in only 15 events. Snead had won his seventh Greensboro Open earlier in the spring, making him the oldest (52) to have won a PGA Tour event. The record still stands 60 years later.

In a feeble effort to erase my faux pas, I uttered something inane along the lines of, “Not that you aren’t still at your peak.” I forget what was said next but do recall a distinct, if brief, lull in our conversation. If Sam was annoyed by my babbling, he didn’t show it, and our amiable dialogue resumed. It is telling that on the hole following my misbegotten inquiry, Sam let out the shaft and outdrove me by 75 yards.

Dad was waiting for us as we finished on the 18th, done in 2 hours and 45 minutes. After holing out and shaking hands (Snead, quite bald, never removed his hat in these situations), Dad asked Sam how things went.

“Well, your son did just fine,” he offered. “Shot 82 and kept the ball in play — just one double bogey and that was from a mental mistake (the bonehead lay-up). I believe he learned a lesson from that. He should keep on playing.” I absorbed another lesson from the round: Think before you speak.

Sam shot 66 and didn’t seem to be doing anything special. He holed one long putt and birdied the par 5s, but otherwise his round appeared relatively routine. Had I the temerity to bet him, I would have become one of Sam’s countless “pigeons.”

I don’t know for sure the amount Snead charged for the round. I think it was around $150. An old pro friend of mine believes that figure is too low, but an aged article I unearthed in the Sports Illustrated archives reported that in 1959, Snead charged $50 per round and $25 for each additional player. I can only imagine what a superstar like Sam would charge today.

Regardless of the cost, playing with Snead was priceless. There are still times when I have failed to do as Sam counseled — lay-up shots still occasionally roll into the water. But I’ve faithfully followed his advice to keep playing. After all, golf is the game of a lifetime. And my life was enhanced by that unexpected 1965 Christmas present.

The Art of N.C. Wyeth

THE ART OF N.C. WYETH

The Art of N.C. Wyeth

How did his illustrations for Drums get here?

By Bill Case

It was 1927 and, for Southern Pines author James Boyd, life was coming at him fast — albeit in a good way. His first novel, Drums, published two years earlier, had flown off bookstore shelves. To meet the unanticipated demand, publisher Charles Scribner’s Sons had reprinted the novel three times in the first month following its release. Forty thousand copies of the surprise bestseller were sold in five months.

Boyd’s tale, set mostly in North Carolina, was also earning critical acclaim. A New York Post reviewer declared Drums “the best novel written about the American Revolution.” Fellow author (and Boyd confidante) Struthers Burt heaped more extravagant praise, calling his friend’s work, “by far the best . . . American historical novel ever written.”

Buoyed by his surprise hit, Boyd authored a second historical novel for Scribner’s — this one with a Civil War backdrop. The book, titled Marching On, released in the first quarter of 1927, was going gangbusters too. Early sales were bettering those of Drums. On the heels of this latest tour de force, Scribner’s inked a deal for a third novel.

While Boyd’s association with his publisher was financially profitable, it was proving more time-consuming than he preferred, expressing frustration when production demands precluded his engagement in his favored rural pastimes, like foxhunting. The author grumbled to an interviewer, “My brother looks after my money for me; my wife looks after my kids and the house; now if I could get you (the interviewer) to do my writing for me, I could look after my dogs myself and fox hunt during the winter. Seems to me that would be an ideal arrangement for everybody concerned.”

In the fall of 1927, Boyd’s renowned editor, Max Perkins, pitched a new project designed to create a fresh wave of sales — and the author would barely need to lift a finger! Scribner’s wanted to produce a new, lushly illustrated edition of Drums. Boyd would need to make some minor text changes, but the bulk of the creative work would involve the artistic depiction of passages from the novel.

This was not a new concept for Scribner’s. The publisher first featured color illustrations in children’s books in 1904. Well-received, Scribner’s began color illustrating full-length novels, aiming primarily at the juvenile trade. An early one was Treasure Island, published in 1911. A landmark hit, Robert Louis Stevenson’s swashbuckling yarn became the first in a series labeled “Scribner’s Illustrated Classics.”

Subsequent books in the series like Kidnapped, Rip Van Winkle and The Last of the Mohicans told stories of high adventure. The authors of those classics, Stevenson, Washington Irving and James Fenimore Cooper, respectively, rank among the greatest American writers. The fact that Boyd was joining these legends underscored his arrival on the literary scene.

The choice of Drums for the series represented a departure for Scribner’s. While the book contains battle episodes and other dramatic moments, its subject matter was aimed at mature readers. In Drums, intractable political conflicts and social class barriers bedevil the young protagonist, Johnny Fraser. Editor Max Perkins minimized any perceived switch in Scribner’s targeted audience, writing, “Most of the best books in the world are read both by children and adults. This is a characteristic of a great book, that it is both juvenile and adult, and that is what assures it a long life.”

The primary conflict in Drums occurs in the lead-up to the war, when Johnny Fraser is coming of age in the backwoods of North Carolina, and Americans are bitterly divided on the issue of independence. Johnny’s father, Squire Fraser, sees both sides; while acknowledging that taxation without representation is anti-democratic, he is convinced no good will come from revolution. He remains a Loyalist, and Johnny follows his father’s lead.

Squire Fraser seeks to keep his son out of the growing tumult by sending him to Edenton to receive a gentleman’s education, but after war breaks out in Massachusetts, the revolt impacts Edenton, too. The British collector of the port there, Captain Tennant, is forced by a jeering mob to leave the colony. Johnny, a wavering Loyalist, receives his own share of harassment and also departs Edenton. Squire Fraser, still protecting his son, arranges for Johnny’s passage to England, where the young man obtains a clerical position at an import firm in London.

It’s then that Johnny crosses paths with American naval hero John Paul Jones, the “Father of the American Navy.” Jones persuades Johnny to join his ship’s crew. Whether his decision is premised on a newfound fervor for independence or the urging of the charismatic Jones is for the reader to discern.

Johnny is wounded in battle aboard Jones’ ship, the Bonhomme Richard. He returns to North Carolina and rejoins his parents in the backwoods of Little River. Fully invested now in the cause of independence, Johnny joins the militia and is wounded again. The book concludes with the battered Johnny Fraser sitting on his front porch, watching Nathanael Greene’s victorious army march by. As the soldiers are nearly out of sight, he staggers down to the fence and raises his stiff arm in salute to the last man of Greene’s rear guard, far off in the distance.

Scribner’s assigned the artwork for the new edition of Drums to the man unquestionably regarded as the finest illustrator in America, Newell Convers Wyeth, age 45. N.C. Wyeth painted the bulk of the artwork contained in the Scribner’s classics series, beginning with Treasure Island. During his unparalleled career Wyeth also illustrated hundreds of scenes for magazine stories, especially those published by Scribner’s Magazine and the Saturday Evening Post.

Wyeth was raised in Needham, Massachusetts, where his father made a decent living dealing in hay, grain and straw. His mother, an immigrant from Switzerland, was chronically homesick for her place of birth, and her depressed state was an ongoing drain on the family. Nonetheless, N.C. maintained a close relationship with his mother, and after he left Needham, the two corresponded with one another almost daily.

Wyeth displayed immense artistic ability during his teenage years, attending the Howard Pyle School of Art in Wilmington, Delaware. Pyle was then the country’s leading illustrator and quickly recognized Wyeth’s talent, advising his prodigy to submit illustrations to magazines. One of his first compositions was for The Saturday Evening Post — a cowboy astride a bucking bronco that appeared on the Post’s cover the week of Feb. 21, 1903. It was a promising start, and with magazines catering to public thirst for Western-themed stories, Wyeth received multiple commissions.

Pyle believed Wyeth’s cowboy illustrations would gain authenticity if he experienced Western life for himself, so in October 1904, N.C. journeyed west and found employment at a ranch. On Oct. 6, he wrote his mother: “I did my first work of the cowpuncher . . . Elroy and I went out and rounded up about 300 head of cattle, including calves. We started at 7:30 a.m. and were in the saddle continually until 5:15 that afternoon.”

Wyeth remained out west until December. The sojourn led to an explosion in commissions, and Wyeth’s subsequent Western illustrations demonstrated an increased grit and realism gained from his personal experience. With his career off and running, he received offers from magazines at the rate of two or three a week, and demand for his illustrations never slowed. Yet, he often disparaged this genre of painting as unserious, purely commercial and barely art. Though painting illustrations brought him fame and prosperity, Wyeth groused that it prevented him from being “able to paint a picture, and that is as far from the realms of illustration as black is from white.”

Churning out illustrations, however, earned enough to support a burgeoning family. He married Carol Bockius in 1906, and they had five children. Several of his offspring would become talented artists in their own right,  most notably, celebrated mid-century painter Andrew Wyeth. In 1908, N.C. moved the family to bucolic Chadds Ford, Pennsylvania, in the Brandywine Valley, 10 miles from Wilmington, Delaware. He had become smitten with the community’s horse-drawn surroundings during Pyle’s summer school sessions.

Wyeth relished life in Chadds Ford. Its warm meadows and rolling hills provided an idyllic environment for his work. Author David Michaelis described the painter’s peripatetic labors in his biography, N.C. Wyeth: “He had no time to waste. He divided his days, pushing himself to do more than one person could. In the mornings he made studies in the open fields around Chadds Ford. After lunch he cranked out pictures for Scribner’s and The Saturday Evening Post, then returned to the open air in the late afternoon. As the evenings lengthened in May, he remained in the fields and on the riverbanks, sketching, often through supper.”

The hard work paid off. Wyeth’s Scribner’s Illustrated Classics paintings received increasing acclaim. His depictions stood out because they appealed to all the senses. Michaelis wrote, “Wyeth’s illustrations make the viewer not only see and feel but also hear. We hear the clatter of dishes and goblets breaking during a fight, coins falling on heaps, sand squeaking under the feet of the stretcher bearers.”

Illustrator John Lechner added, “Unlike previous illustrators, who designed their compositions neatly on the page, Wyeth’s paintings leapt right out of the book, with a vibrancy and power that made you feel the passion and pain of their subjects.”

An assignment from Scribner’s to illustrate a classic novel required production of 17 individual paintings. Fourteen of them, each depicting a scene from the book, would be sprinkled throughout the text. The cover, title page and end page would also feature illustrations. Scribner’s art director, Joseph Chapin, allowed Wyeth carte blanche freedom in choosing scenes.

Lechner observed the subtlety within N.C.’s selections: “Wyeth was very sensitive to the author’s words, and his philosophy was to avoid depicting scenes that the author describes in detail (what was the point?) and instead illuminate smaller moments that are only briefly mentioned, in order to enhance the story. The resulting illustrations are neither trivial nor superfluous but help develop the characters and advance the story.”

Wyeth used canvases for the classics series that were 47 inches tall and 38 inches wide. For final publication, Scribner’s engravers would reduce the size to 6 1/2 inches by 5 1/4 inches. Wyeth was billing Scribner’s approximately $5,000 for a set of paintings around the time the publisher retained him to illustrate Drums.

Wyeth always read the novel he was illustrating. We know he liked Drums because of a letter he wrote to his father, who apparently did not share his enthusiasm. Recognizing his father was accustomed to stories involving the confrontation of a perfect hero with a perfect villain, N.C. asserted that real life was not like that, claiming modern literature, and Drums in particular, provided more realistic, and thus more interesting, portrayals of human nature. The imperfect Johnny Fraser, according to Wyeth, was “like most of us,” a “fundamentally worthy sensitive person,” yet “vacillating and a victim of influence and circumstances.”

His western trip taught Wyeth that the essence of a scene is best captured by exploring the area where the action occurs, so plans were made for him to visit Edenton. Who initiated the trip is unclear, but Boyd — who had previously visited Wyeth in Chadds Ford — did send Wyeth a telegram inviting him to visit Weymouth on his way to Edenton.

Wyeth responded on Dec. 3, 1927. “I have carefully completed the next to last study of Drums and am now prepared to absorb the material I need from you, Little River Country, and Edenton.” Wyeth planned to arrive at Weymouth on Wednesday, presumably Dec. 7.

The next recorded contact between the author and artist took place later in December when Wyeth wrote Boyd from Edenton extending his “warmest thanks to you and Mrs. Boyd for your kindnesses.” He expressed further gratitude to Boyd “for the use of your motor,” and the “careful but not dull driving of Calvin.” Wyeth’s word pictures were nearly as lush as his illustrations. “For the last two hours, lying by the open window, I have listened to the night sounds of this little town and have contrasted those Johnny Fraser heard so often, and by doing so have enjoyed revealments which, for moments of time, become very poignant and moving,” he wrote. “Dimly bulking against the glow of the moon on the water I can see the angular shapes of three warehouses. There they stand as Johnny Fraser saw them! This afternoon was spent wandering in and about these relics of 1770. My heart went out to them, because you, Boyd, have made them live for me.”

Wowed by N.C.’s eloquence, Boyd responds, “It is an injustice of nature that a man who can paint like you should also be able to write like that . . . I might be obliged to ask myself why I am in the business at all.” Boyd is also struck by the fact that Wyeth’s sentiments present a perfect echo of his own. “Two people are seldom so as one on anything in life,” Boyd writes. “And when that thing happens as with us to be a common enterprise, the coincidence is so far-fetched as to excite a wonder in my mystical Scots nature, only exceeded by my hard-headed Scotch-Irish nature that there must be a catch somewhere.”

There is no hint in their correspondence that James Boyd accompanied Wyeth on his coastal wanderings, but a humorous anecdote in the Jan. 10, 1931 Pinehurst Outlook suggests otherwise, claiming that Wyeth was seeking models for two boys in the story, and that he and Boyd toured the Cape Fear area together in search of suitable subjects. “Stopping at a country school near Wilmington, they looked through the windows and saw in a corner two boys who served Mr. Wyeth’s purpose very well. He and the author, to get a closer view, stooped down and looked through the keyhole. ‘Just the type,’ said the artist, and the author agreed. The schoolteacher, unfortunately, overheard the conversation and opened the door to investigate, and both Mr. Boyd and Mr. Wyeth fell in.”

After the new year, Wyeth began work on his Drums illustrations. In addition to the set of 17 paintings, he agreed to render a number of pen drawings for the new edition. On Jan. 5, 1928, he reported to Boyd on his progress or lack of same. “I am not taking easily to this medium for it is years since I have handled it,” he wrote. “Have done about twenty which I destroyed this morning and feel better for it.”

Wyeth’s message expressed agonized frustration concerning his work, startling when coming from the greatest illustrator alive. “How I do yearn for the technical ability to put down in color and pattern the things that are almost tearing my insides out,” he wrote.

The 17 illustrations for Drums included several of high drama like “The Fight at the Foretop” aboard the Bonhomme Richard; “The Horse Race” (which Johnny won); “Johnny’s Defeat at the Dock,” when he was treated roughly in Edenton; and “Captain Tennant,” where the British official cooly confronts the crowd demanding his departure. Others like “The Fraser Family,” depicting young Johnny and his parents riding their old chaise to church; and “The Mother of John Paul Jones” lack drama, but help the reader visualize the characters. The Drums title page illustration includes a pastoral landscape, supposedly portraying the Little River Country, though it actually came from a Chadds Ford area view.

Though their effusive correspondence suggests an exceedingly collegial friendship, there is no record of further dealings between Boyd and Wyeth following the 1928 publication of the Illustrated Classics edition of Drums, which sold exceedingly well. It’s hard to imagine, however, that they didn’t see one another during the Yuletide stay of Wyeth and his wife, Carol, at Southern Pines’ Highland Pines Inn in 1931 (reported by The Outlook on Dec. 19 of that year). There is no mention there or elsewhere, that the Boyds and Wyeths saw one another. By contrast, Boyd’s hobnobs in Southern Pines with other revered men of the arts like F. Scott Fitzgerald, Thomas Wolfe and John Galsworthy were copiously reported. It’s puzzling.

Even if they did not meet during that visit, the two men presumably had further contact because Boyd wound up acquiring three of the 17 canvases Wyeth painted for Drums: the “Title Page” illustration; “The Fraser Family” painting; and “Captain Tennant.” Those canvases are currently on display at the Weymouth Center for the Arts & Humanities as part of its Celebration of Drums. This year marks the centennial of the novel’s initial publication. The Wyeth paintings are on loan from the town of Southern Pines, which now owns them.

But what were the circumstances of Boyd’s acquisition of the illustrations? When did he take possession of them? Was it possible he got them from Scribner’s instead of Wyeth? Did Boyd purchase the paintings, or were they a gift?

The earliest mention referencing Boyd’s ownership of the illustrations came from a Dec. 7, 1939 Outlook blurb. It read: “Above the fireplace in the Southern Pines Library are two of the original N.C. Wyeth illustrations used in depicting scenes in Mr. James Boyd’s book, Drums. These interesting illustrations, on display through the courtesy of Mr. Boyd, add much color and charm to the reading room of the library.” (The library was then located on Connecticut Avenue and operated independently by the Southern Pines Library Association.)

Michaelis’ biography makes it clear that Boyd obtained the paintings from Wyeth. During N.C.’s early work for Scribner’s, he was squeamish about speaking up for himself, and the publisher kept most of his paintings. Over time, however, he became more forceful in negotiations with the publisher. By 1920, Scribner’s was returning all of Wyeth’s canvases to the artist. A check of Scribner’s archival records confirmed the company sent the Drums illustrations back to Wyeth.

Whether the artist sold or gifted the illustrations to Boyd is a more complicated issue. The fact that Wyeth had previously sent a picture of one illustration to Boyd “thinking it might interest you,” seemed the sort of thing a seller might say to kick off negotiations. But a scouring of Boyd’s personal papers at the University of North Carolina’s Wilson Library revealed no support for this theory. Carrie Hays, administrative coordinator for the town of Southern Pines, compiled background information concerning the paintings, but nothing relates to how Boyd obtained them from Wyeth.

N.C.’s great-granddaughter, Victoria Wyeth, speaks regularly concerning her legendary family’s legacy. (She was featured in Ray Owen’s October 2018 PineStraw article “America’s First Family of Art.”) While Victoria had no information concerning her great-grandfather’s disposition of the paintings, she graciously put me in touch with folks who did at the Brandywine Museum of Art in Chadds Ford.

The museum includes Wyeth’s studio and holds a treasure trove of his paintings along with records of their provenance. Amanda Burdan, the senior curator of the museum, provided valuable, though not conclusive, insight on the issue. “It is most likely that he (Wyeth) sold those three paintings to (Boyd) directly,” she said. “He did occasionally gift paintings, but it tended to be for special occasions like weddings of friends.” Burdan said that “several of the Drums illustrations stayed with the Wyeth family until well after N.C. died in 1945.”

Burdan and her assistant, Lillian Kinney, took a look at Wyeth’s tax records in hopes they might reveal income from sales of illustrations to third parties. There was some, but the records were inconclusive — another rabbit hole.

Sandy Gernhart is the archivist for the Weymouth Center, which houses many Boyd documents. She found a 2005 Weymouth inventory binder that indicates Wyeth gifted the illustrations to Boyd. According to Gernhart — and prior Weymouth Center historian Dotty Starling — it has through the years been “known” at Weymouth that the illustrations came to Boyd by way of a gift from Wyeth. Both women concede there is no documentation, aside from the non-contemporaneous inventory binder, that backs up this lore.

Nonetheless, the apparent closeness of the two kindred spirits during their time together and the generous hospitality exhibited by the Boyds to Wyeth provide strong circumstantial evidence supporting the likelihood of Wyeth’s tendering such a generous gift.

How did the town of Southern Pines eventually obtain ownership of the illustrations? After World War II, the town constructed a new edifice on Broad Street that would house the library — now the home of the town’s utilities office. Soon thereafter, the library came under the town’s umbrella. A wing was added to the structure in 1948 that was dedicated to the memory of James Boyd, who had passed away in 1944. Katharine Boyd contributed a number of historic artifacts to be displayed in the James Boyd Room, including a desk purportedly used by Lincoln while he was in Congress, an autograph collection, several pieces of early American furniture, and the Wyeth illustrations.

Katharine Boyd’s 1969 will (she died in 1974) mentions nothing about the paintings, so presumably she considered them already donated to the town, perhaps when the James Boyd Room was opened in ’48. But if so, the gift, like other dealings in this account, appears to have been accomplished without written record.

The town is permitting the Weymouth Center to display the illustrations throughout most of 2026. As of now, it’s unclear where Wyeth’s illustrations will be housed once they are returned to the town.

Wherever they wind up, security will be paramount. There is no hiding the fact the canvases are valuable. N.C. Wyeth illustrations frequently sell at six figures. The highest amount paid to date is $5.99 million for his Portrait of a Farmer at a Sotheby’s auction in 2018. Wyeth, who belittled the merits and value of his own illustrations, would undoubtedly be gobsmacked at such stupefying prices.

Wyeth died in 1945, one year after Boyd, at the age of 62. His demise was both tragic and mystifying. While driving near Chadds Ford, Wyeth’s car stopped on the track at a railroad crossing. An onrushing train crashed into his auto, killing him and his 3-year-old grandchild. Why Wyeth was stopped on the track remains an unknown.

While a bit of mystery lingers regarding the Wyeth-Boyd relationship and the three illustrations, there is none concerning Wyeth’s artistic greatness. Though in the grand sweep of time the regard given to the works of Boyd and Wyeth may have traveled in different directions, their association, while brief, made for a memorable collaboration.

Nature’s Nightlife

NATURE'S NIGHTLIFE

Nature's Nightlife

In search of wonders in the dark

Story and Photographs by Todd Pusser

Nara City, nestled within Honshu, the largest of Japan’s four main islands, is renowned for its numerous historic temples and shrines. Designated a UNESCO World Heritage Site, the city is perhaps most famous for its resident sika deer, a native Asian species that looks like a stouter, more heavily spotted version of North Carolina’s white-tailed deer.

In the Shinto religion, deer are viewed as messengers between mortals and gods. As such, the sika deer of Nara have been considered sacred for centuries and pretty much have the run of the town. They wander the crowded streets (where they always have the right of way) and frequently panhandle for rice crackers in front of local businesses. Tourists flock from all over the world to see and feed them.

Over the years, hungry deer have learned to bow to people, in customary Japanese tradition, in order to receive a cracker. When our family visited the city this past summer, my daughter spent the better part of two days roaming the streets and parks, constantly exchanging bows and crackers with every deer she encountered. My back ached just watching her.

While bowing deer are indeed charming, my primary reason for visiting Nara lay just outside of town, on a thickly canopied mountain slope that overlooked the city. There, in a forest with the rather foreboding name of Mt. Kasuga Primeval Forest, lives a very special squirrel. Not just any run-of-the-mill-backyard-birdfeeder-raiding gray squirrel, mind you, but one of the largest squirrels in the world — the aptly named Japanese giant flying squirrel. At nearly 3 feet long from the tip of its nose to the tip of its fluffy tail, the squirrel is larger than a house cat.

I first learned about Nara’s giant squirrels from my good friend Jon Hall. Jon, who originally hails from the United Kingdom but currently lives and works in New York City, has obsessively traveled the globe for the better part of three decades in search of mammals. During that time, he has managed to see a third of the world’s mammals — over 2,300 species as of August 2025, an unrivaled number — and has established the internet’s premiere mammal-watching website, www.mammalwatching.com. Jon visited Nara several years ago and saw the squirrels firsthand. Before our family trip, he kindly offered a few tips on how to the find them in the forest that overlooks the town.

Strictly nocturnal, the Japanese flying squirrel emerges from its home tree cavity at dusk. Spreading its flying skin (a thin membrane that stretches between its front and hind legs) like a superhero’s cape, the arboreal rodent glides from tree to tree, throughout the nocturnal forest, in search of nuts, fruits and leaves to eat.

It was just after 10 p.m. when my partner, Jessica, and I first found the squirrels. We had spent the better part of the evening hiking up a steep dirt road through the old-growth forest without much to show for our efforts, other than sore legs and some mild dehydration from the humid, summer night air. It was Jessica who first heard their strange vocalizations, which sound remarkably like the guttural calls of American crows, high up in the canopy.

Clueing in to one particular vocal individual, Jessica spotted the squirrel’s distinctive eye shining among the leaves with her flashlight. “Here’s one,” she exclaimed. I rushed to her side with my camera in hand. There, on a branch 20 feet above our heads, munching contently on a mouth full of leaves, sat the largest squirrel I’d ever seen. Though I have seen other types of flying squirrels — like Southern flying squirrels in the backyard of the home where I grew up in Eagle Springs — those diminutive, big-eyed critters paled in comparison to the size of the furry beast staring down at us.

As we watched in amazement, another giant flying squirrel called out from a nearby tree, and then another quickly responded, just down the slope. We were surrounded.

Eager to take a break from our strenuous hiking, we sat down on the dirt road beneath the squirrels and turned off our flashlights. For several minutes we sat in the dark listening to the grunts and growls of the squirrels as they foraged in the trees above. Fireflies flickered on and off along the edge of the road, and a Ural owl hooted in the distance. All was right in the world.

Suddenly, Jessica jumped up and shouted, “What the hell is that!” Startled, I turned on my flashlight, thinking perhaps she had stepped on a mamushi, a local pit viper that closely resembles a cottonmouth, the venomous denizen of Sandhill swamps. “Get it off!” Jessica shouted. Shining my flashlight on her, she pointed down to her leg. “Hurry!” she said.

Scanning the length of her leg, I finally saw it. Just above the sock line, a leech had attached itself to Jessica’s skin and was sucking her blood like a rabid vampire. My flashlight soon revealed four more leeches clustered on the side of her tennis shoe, each searching for a patch of bare skin. The slimy invertebrates evidently found her irresistible and were swarming her like sharks attacking a bleeding fish.

Now frantic and dancing a jig in the middle of the dirt road, Jessica was shaking her leg left-to-right and up-and-down, trying to dislodge the bloodthirsty vermin. It looked like a scene straight out of the movie Stand by Me, and I couldn’t help but chuckle.

That was a mistake.

“Todd, get these damn things off me! Now!” she demanded. I tried to explain that, unlike ticks, leeches don’t carry any known human diseases and are entirely harmless. This factoid failed to impress. And when I insisted on photographing the engorged leech attached to her leg before removing it, Jessica was neither pleased nor amused. The walk down the mountain and back to our hotel was a long one indeed.

The primeval forest had lived up to its name. I held out hope that our little squirrel-watching adventure left no lasting scars on Jessica, physically or emotionally. No doubt it served to reinforce preconceived notions that venturing into the wild at night can be perilous.

As kids, we are taught to fear the dark in countless fairytales. We learn that the night is filled with perils and dangers. For many, the apprehension of the dark is carried all the way into adulthood. It is a primary reason why humans bathe their yards and city streets with bright lights. Perhaps this fear is innate, stemming from a time our distant ancestors roamed the nocturnal landscape when large predators, with better nighttime eyesight, were much more common.

Growing up, I was always curious about what lurked outside our rural Eagle Springs yard when the sun went down. I have fond memories of sitting outside by our pool, under a star-filled sky, listening to the distant hoots of owls and whip-poor-wills. Humid summer nights found me catching backyard fireflies and placing them in Mason jars. On more than one occasion, turning into our yard late in the evening after a school basketball game, the headlights of my parents’ car would reveal an opossum or raccoon skulking along the edge of the woods. Sometimes we would even see a gray fox.

I still venture out after dark, and many of my most memorable wildlife encounters have taken place long after the sun disappeared over the horizon. In Japan this past summer, I watched as the world’s largest owl, the Blakiston’s fish owl, swooped down to catch small fish out of a tiny creek in front of a makeshift blind. In the Yucatan Peninsula, I spotted the eyeshine of large crocodiles hiding among mangroves in a shallow coastal bay. On a hot August night in the Arizona desert, I once found over two dozen rattlesnakes crossing rural blacktop roads under the moon-cast shadows of giant saguaro cacti. Once, off the coast of Costa Rica, a few hundred Eastern spinner dolphins raced over to our ship to play in the bow wave for nearly half an hour under a bright moonlit sky. Bioluminescent phytoplankton in the water caused the dolphins to glow in the dark. The up-and-down beats of their tails in the water, as they raced along with the ship, left spectacular trails of shimmering blue and green light in their wakes. The scene was otherworldly and jaw-dropping.

Today, I have many more high-tech “toys” available to me than I did as a kid to aid in my nocturnal wildlife observations. Camera traps with infrared beams allow me to capture spotted skunks on remote mountain sides or crafty raccoons foraging just outside our kitchen window, without me actually having to be physically there. Ultraviolet flashlights allow me to find caterpillars munching on the leaves of trees and shrubs throughout the nocturnal forest. Many caterpillars fluoresce under ultraviolet light, and shining one of these flashlights into a persimmon tree on a September night will cause them to light up like Christmas tree lights.

Perhaps the biggest gamechanger for locating wildlife at night has been the thermal imaging scope. Primarily used by law enforcement and the military, thermal imaging scopes were once prohibitively expensive. In recent years, these high-tech scopes have come down in price and are now commercially available in many brands. The scope, as the name suggests, picks up the body heat of animals (especially mammals and birds), making it possible to virtually see in the dark. A walk in the woods with a thermal scope after sunset will reveal creatures you never knew were around, everything from tiny golden mice scampering about in trees to deer foraging in a field several hundred yards away.

Having all this tech so easily available can be addictive for the curious naturalist. A case in point is my current enthusiasm for North Carolina sphinx moths, derived after reading a story involving an unusual orchid from Madagascar and two of the godfathers of the Theory of Evolution, Charles Darwin and Alfred Russel Wallace. Sphinx moths (or hawkmoths, as they are also named) are spectacular insects with over 1,500 species found around the world. They are well known for hovering in front of flowers like hummingbirds, with many species rivaling the birds in size.

In 1862, Darwin received a spectacular orchid with a foot-long nectar tube from the island of Madagascar. He pondered what type of insect could possibly pollinate so unique a flower. In a letter to his botanist friend Wallace, Darwin exclaimed, “Good heavens, what can suck it!” He went on to speculate that only a moth with an exceptionally long tongue could reach the orchid’s nectar reserve.

Five years later, Wallace predicted such a moth would be similar to a sphinx moth from the nearby African continent that was known to possess a very long tongue. Wallace wrote, “That such a moth exists in Madagascar may safely be predicted, and naturalists who visit the island should search for it with as much confidence as astronomers search for the planet Neptune — and they will be equally successful.”

In 1903, the long-tongued moth was finally found and described, vindicating both Darwin’s and Wallace’s predictions. It was not until 2004 that a BBC film team finally filmed the moth, now called Wallace’s Sphinx Moth, pollinating the orchid for the first time.

Their saga led me straight down a deep rabbit hole. North Carolina has an abundance of native and non-native deep-tubed flowers, and numerous sphinx moths. According to the North Carolina Biodiversity Webpage (www.nc-biodiversity.com), 45 species of sphinx moths have been recorded in the state.

Faster than you can say “What can suck it?”, I ventured out to the closest patch of ginger lilies on a summer night. Ginger lilies, a species native to Asia, possess bright white flowers that open only at night and are incredibly fragrant, making them popular additions to backyard gardens. Their unique blooming strategy suggests the flowers are pollinated by nocturnal insects. With their deep nectar tubes, I reasoned our native sphinx moths would visit them for a sugar rush. Sure enough, my first night sitting out among the lilies in my friend’s yard, I saw numerous rustic sphinx moths hovering in front of the white blooms like nocturnal hummingbirds. I was hooked. 

This past summer found me deploying camera traps around many of North Carolina’s native flowers to see what moths visit them at night. Using ultraviolet flashlights, I spent many evenings looking for glowing sphinx moth caterpillars on grapevines and low-growing shrubs. I even sat out in a large tobacco field near my home in Eagle Springs, watching dozens of sphinx moths hover in front of the white flowers under a bright full moon.

Thankfully, there wasn’t a leach in sight. 

Deep Background

DEEP BACKGROUND

Deep Background

Battling the clock for art

By Jim Moriarty

Photographs by Tim Sayer

“I’m officially bionic,” says Derek Hastings. “I have to charge myself once a week.”

In early August Hastings underwent deep brain stimulation (DBS) implantation at Duke Raleigh Hospital. The surgery required placing two electrodes in his brain, attached to wires that run under the skin to a battery roughly the size of a Zippo lighter installed subcutaneously on his chest not far from his heart.

Hastings has Parkinson’s disease, and the surgery is designed, in combination with medication, to minimize his uncontrollable movements (dyskinesia) and tremors.

Halfway through the operation his neurosurgeon brought him out of anesthesia to test whether or not the electrodes were in the right spot. They asked Hastings to extend his arm. His hand shook violently. The surgeon turned on the device and instantly his hand stopped moving. It was like going from Class V rapids to a tidal pool. Pleased with the results, they put him back under and finished the procedure.

Was he nervous before the surgery? Damn right. Who wants someone tap dancing through their skull? But deep brain stimulation was, perhaps, the only way Hastings, at 54, was going to be able to recapture a modicum of what passes for normalcy in a life that was decidedly not normal.

For the last decade and more, you could find Hastings and, as Elliott Gould says in Ocean’s Eleven, “a crew as nuts as you,” pulling all-nighters in a string of warehouses in Southern Pines creating backdrops for The NFL Today show on CBS. With apologies to The Jetsons, covering live sporting events requires something akin to a steamer trunk full of Spacely sprockets and Cogswell cogs. If football is the ultimate team sport, televising it is the ultimate team undertaking. There are directors and audio engineers and replay operators and graphics coordinators and researchers and electrical engineers and camera operators and talking heads and on and on and on.

What Hastings, who’s had a hand in winning three Emmys (two at ABC, one at HBO), and his volunteer crew did was manufacture “feel.” The gritty artwork of their backgrounds gave the pre-game interviews a unifying and distinguishable look achieved because it was done by hand and not by computer. “It was like the glue sprinkled through the show, an aesthetic thread that would kind of tie it together,” says Hastings. “Subconsciously for most people.” It was also more expensive than a graphics app and, in a time when network TV doesn’t reign as supreme as it once did, something of a luxury.

Though “luxury” is hardly the word for the work. The deadline for the finished product was 10 a.m. on Saturday morning. Once Hastings got the subject matter and bullet points from New York, usually on a Wednesday, implementation was up to him. He had a three-day turnaround, soup to nuts. The core group of Moore County helpers included Patrick Phillips, his wife, Jen, Matt Greiner and Karen Snyder. They worked construction, painted sets and backdrops, built a dolly system with — if you can believe it — roller blade wheels, made sunrise runs to Bojangles, helped with bookkeeping, picked up overnighted packages of photos, and pretty much did everything and anything to help a friend out.

“I figured I could come in and help Derek with whatever he might not be able to do physically,” says Patrick Phillips. “If I saw that his alarm was going off for medications, I’d let him know. If he was starting to feel uncomfortable, or get bad, I’d try to make sure he’d eaten. Anything he needed, really. My mentality was, I wanted to give him more longevity.”

Hastings grew up in Miami, the son of two artists who, though divorced, both ended up living in Pinehurst. His father, Lynn Courtlandt Hastings, who passed away in the fall of 2014, was an interior designer, but his printworks are in the collections of both the Smithsonian American Art Museum and the Art Institute of Chicago. His mother, Sandra, who also suffers from Parkinson’s, has won prizes for her ceramics in Arts Council of Moore County competitions at the Campbell House. “I really didn’t have a shot at doing a 9-to-5 banker’s job,” says Hastings.

In something of a misdirection, Hastings went north from south Florida to attend college at Michigan State University, where his major was a smorgasbord of theater, communications, English, film studies and art history. “Which meant unemployment,” he says. While he was at MSU, however, he latched onto half a dozen jobs with ABC as a runner for college football games. Post graduation, he did a stint as a lobbyist’s aide, then moved to L.A. to be an actor.

“I lived in a closet above Arnold Schwarzenegger’s restaurant,” he says, but quickly wound up back in Michigan, out of work and sleeping on a friend’s couch. He reached out to ABC and began going anywhere and everywhere they needed someone. Horse races in Kentucky. Time trials in Indianapolis. The odometer on his leased Mustang recorded miles from Maine to Miami.

“I found out that they had one position in New York that they hired every year from the pool of runners. At the time ABC sports was the global sports leader. They were everywhere. I’m like, I’m going to get that spot,” says Hastings. He did.

Bob Toms, an ABC exec, recognized Hastings’ artistic skills and took him under his wing. Hastings quickly achieved launch velocity. He got his first associate producer contract at 27, bumped up to producer in 1999 when he was honored for design and art direction for the opening graphics of the “Showdown at Sherwood” with David Duval and Tiger Woods, followed by more accolades for work on Super Bowl XXXIV between the St. Louis Rams and Tennessee Titans in 2000. Hastings left ABC to work for Tupelo Honey Productions until the 9/11 terrorist attacks brought its business to a sudden halt, launching him into the freelance world.

Six years later Hastings won another Emmy as a field producer for HBO Sports’ 24/7 Mayweather/De La Hoya. “I spent six weeks in Puerto Rico with Oscar, planning the days, what we were going to shoot,” says Hastings. “That was kind of the pinnacle of me doing that stuff.”

Though Hastings didn’t receive formal credit on ESPN’s award-winning 30 for 30 series production Run Ricky Run, he was instrumental in getting it made. The show’s writer and director, Sean Pamphilon, spent six years shooting the documentary on Miami Dolphins running back Ricky Williams. Pamphilon and Hastings are something of kindred spirits. “It was like we were rainbow fish who saw each other in this sea of sameness,” says Pamphilon. “He helped me do the sizzle reel for Run Ricky Run. We were both broke. We edited it in a trailer park near Santa Cruz, California. It was like The Odd Couple.”

They put together 20 minutes that was so compelling ESPN was hooked before it finished. Run Ricky Run remains the only one of the series shot in cinema verité. “I don’t get that deal if it’s not for Derek,” says Pamphilon.

After Lynn Hastings moved to Pinehurst from Miami in 1990, Derek was a regular visitor. He met and married Rachael Wirtz, who worked for his father. Now divorced, the couple have two daughters, Reade and Elizabeth. It was his daughters who took Hastings off the road in 2011.

“I told myself I wasn’t going to miss another Christmas with my kids,” says Hastings. “I bought this beat-up car and drove all the way back from California. Ended up living in Anthony Parks’ pool house for about nine months.”

There remained the minor hurdle of making a living in a small Southern town when your day job involved working on location with NFL athletes and franchises in 32 cities across the country. Like the players themselves, Hastings got there via the draft.

“We did stuff for NFL Network that kind of got my friend at CBS interested,” says Hastings. The friend at CBS is Drew Kaliski, who was named the producer of The NFL Today (among many other credits) in 2013. “We did all these backgrounds for the NFL Combine. We called it ‘First Draft.’ It was a series of short features on the top 50 players. We’d create these sets, and the players would come up, and I would direct them.” Kaliski thought Hastings could bring a similar feel to their Sunday show interviews.

Hastings’ link at the NFL Network, where he contributed freelance jobs from 2013-20, was Brian Lockhart, another one-time upandcomer at ABC, who today is ESPN’s senior vice-president in charge of all original content. “My first time getting a chance to work with Derek was around 1997-98,” Lockhart says. “I would see the things he was doing, and I would be like, how does that guy do that? I remember being on his heels, trying to soak up all the knowledge he had. Derek was the first person in this business who said to me, ‘Man, you could be really good at this. Trust your instincts.’ He was so generous with his feedback and his encouragement. He was an inspiration then and remains an inspiration to this day.”

The first “studio” Hastings cobbled together in Southern Pines was an open space in a storage building. He worked by the headlights of his car. “I had to call AAA like three or four weeks in a row when my car battery died at 3:30 in the morning. Sometimes friends would come by and give me a jump,” says Hastings. “I think we did six or seven weeks in there.”

In the early going Hastings and members of the merry band built the backgrounds, broke them down, drove to the relevant city and put them back together again. Then, one week in season two, it snowed in Green Bay and a flight got canceled.

“I told my boss I thought I could get some camera gear quickly,” says Hastings, who now uses a broadcast-quality Canon C-300 and multiple lenses rented from a place in Cincinnati. “We built a couple of sets on the fly, shot them and got it up to New York, and they loved it.” No more trips to Green Bay, or anyplace else.

While the backgrounds were becoming more complex and the warehouse space more expansive, Hastings’ health was deteriorating. The tremors began nine years ago, and it was five years before his Parkinson’s was diagnosed. If not for the help of his crew, the work of the last few seasons would have been impossible. At the conclusion of last year’s Super Bowl, they shared a Champagne toast.

“This year felt a little different,” says Hastings. “It felt like closing time. We could just kind of see the writing on the wall.” CBS, recently acquired by Paramount Skydance, didn’t renew Hastings’ contract for a 12th season.

His mother’s Parkinson’s has descended into dementia, and Hastings is looking for a care facility for her near where he now lives in Wake Forest. In the meantime, he shuttles to and from Southern Pines to see her and his cohorts.

His brain surgery has no positive effect on the progression of his disease. It’s a quality-of-life issue and a lifeline, he hopes, tethered to the business he’s spent 26 years doing. He’s had the Super Bowl trophy in his hands at least 15 times. He’s had the run of the NFL Hall of Fame in Canton, Ohio, after dark. He brought his disc golf movie, Chains — along with some of the best disc golf players on the planet — to the Sunrise Theater. He was on the goal line at the Super Bowl in 2010, eye to eye with Anthony Hargrove, the subject of the NFL Network piece “Sinner to Saint” that he helped produce, as the defensive end celebrated. “I have so many things to be grateful for. This business has been amazing,” he says.

Field producing was always Hastings’ wheelhouse. “My kids are grown now. I can travel again,” he says. Deep brain stimulation, he hopes, was the boarding pass. The great unknowable is whether his professional connections and resume will be enough to overcome the stark reality of his Parkinson’s.

“I don’t know what’s next. I really don’t,” says Hastings.

“Myself and Derek, you can never count us out,” says Pamphilon. “I hope the surgery gives him the dexterity and the comfort that he needs to be able to do his job at the highest level, not just because of his capacity to earn but because it feeds your soul. When you have the ability to do something you know no one else can do, that will keep you going. That will bring the sun up for you.” 

Poem November 2025

POEM

November 2025

Why I Bought the Economy Size

Because she was not pretty,

her overbite designed to rip prey,

canines sharp as javelins, slight

lisp. Because she could stand

to lose a few pounds, and wore

a flowing flora, and a gray cardigan

strained across her chest. Because

she smiled when she talked, her voice

soft as a mother soothing a fussy child;

because she suggested the best bargain

but did not insist, just gently opened

the jar, offered it like a sacrament,

invited me to dip my finger into the cool

face cream, gently imploring, try it;

because I needed moisturizer, and she

needed that job, I bought the large size,

thanked her for the free gift, samples

wrapped in tissue paper and tucked

inside a pink pouch, the color of her dress.

— Pat Riviere-Seel

A Creative Corner

A CREATIVE CORNER

A Creative Corner

The refurbishing of Lamont Cottage

By Deborah Salomon 
Photographs by John Gessner

A house doesn’t have to be a home. It can evolve into an office, a store, a B&B, a museum. In can even be a serene hideaway for Writers in Residence at the Weymouth Center for the Arts & Humanities.

Lamont Cottage, tucked behind the Boyd homestead and shielded by overgrowth, answers to this role. After decades as a rental property, it has been remodeled, adapted, refurbished and furnished in mid-20th century mode plus AC, Wi-Fi, washer/dryer and a patio.

So where’s the giant wall-mounted, stream-fed TV? Nowhere to be found.

Writers are there to write, not watch the Game of the Week. After days of solitary work, midnight confabs with other writers occupying the four bedrooms (two adapted for mobility issues) carries forth a tradition practiced by James Boyd, when Thomas Wolfe, Sherwood Anderson, F. Scott Fitzgerald and other literary giants of the 1920s Jazz Age stayed for a spell at Weymouth, the sprawling Boyd estate. According to legend, Wolfe arrived in Southern Pines by train late one summer night, walked up the hill to Weymouth, got in through an open window and crashed on a sofa. Whatever the actual details of his visit, Fitzgerald later felt compelled to send Boyd a letter of apology.

Katharine Lamont, barely out of her teens and from an equally wealthy/sporty clan, fell in love with James and built the cottage (originally called The Gatehouse because of its location) for herself, living there until their marriage in 1917. The couple occupied the cottage again in 1922 during the construction of the current Boyd house, and Katharine served as her husband’s secretary/acolyte while he wrote Drums, a hefty volume published in 1925 and touted in its day as the best historical novel of the Revolutionary War. Katharine lived in the cottage one more time, moving back after James’ death, at 50, in 1944.

The literary coterie that flourished in and around Weymouth added glitter to Moore County’s reputation for mild winters, golf and horses. Its artistic dimension was greatly enhanced in 1979 when Sam Ragan, N.C. poet laureate, editor and publisher of The Pilot, and Weymouth board president, instituted the Writers in Residence program. Published North Carolina authors were invited to stay in the house for one or two weeks to work on their projects. Writers had to reside in N.C. or have strong ties to the state.

As vast and charming as the Boyd house is, navigating its stairways presented an accessibility problem. A solution came from the writers themselves, says Glenda Kirby, current board chairman. Why not renovate Lamont Cottage? The possibility was discussed but derailed by COVID.

Tabled but not forgotten. When the subject was broached again in 2024 the entire board agreed. “It was part of our mission,” says Kirby. Funds came from donations and other sources, and the project came in under budget.

The ground floor now has three bedrooms, one accessibility-friendly, with a ramp at the front entrance. Adjustments were made without harming handsome woodwork, heavy paneled doors, moldings, baseboards, mantelpiece and native knotty pine floors that were newly refinished.

Each of the four bedrooms bears the name of a female N.C. Literary Hall of Fame author. A terrace and several porches invite socializing on cool evenings.

Except for the pale yellow kitchen, walls throughout share a soft, calming green. “I selected it to create a sense of serenity,” says Kathryn Talton, one of the muses responsible for planning the cottage renovation, along with Kirby, Katrina Denza, Pat Riviere-Seel and a committee of dedicated volunteers.

Furnishing the house was a challenge, even for a muse. Word got round and donations trickled in, some from the recent renovation of the Carolina hotel lobby do-over. Volunteers scavenged through used furniture outlets in search of hidden gems. Wing chairs were reupholstered. A butter-soft leather settee speaks to a quality lifestyle, as does an enormous sleigh bed and side table/nightstands, some dainty, one with a thick, dark marble top. Quilts are made from flat, small-print fabric, nothing puffy. Donated lamps cop the blue ribbon, especially a classic “trumpet” and a stocky part-porcelain Chinese specimen, one of several nods to Asian décor. The art is spectacular, from landscapes to prints and portraits. Writing niches, some looking out over treetops, have office-friendly tables to accommodate a laptop and source materials.

In Katharine Boyd’s time, kitchens leaned utilitarian. Here, the muses part ways, opting for black appliances (including a dishwasher and oversized fridge), a smooth-top electric stove and a pantry divided into four so each guest can stash his or her coffee and cereal. Pots, dishes, cutlery, of course, for DIY meals. Chatelaines of Katharine Lamont Boyd’s echelon didn’t use sporks and paper plates.

The word “cottage” underestimates this 2,000-plus-square-foot showplace, especially when it comes to its tall, multipaned windows in the sitting room, the shimmering sunlight revealing wavy original glass. No ghosts have as yet been spotted, but writers might watch for a slender lady with big round eyeglasses peering through the wavy panes watching over authors plying their craft.

“Sometimes you can feel Katharine’s presence here,” Riviere-Seel says. “She’s a good spirit.”