"Wonder had gone away, and he had forgotten that all life is only a set of pictures in the brain, among which there is no difference betwixt those born of real things and those born of inward dreamings, and no cause to value the one above the other." --H.P. Lovecraft, The Silver Key
Wednesday, November 11, 2009
Thanks to the vets
I came across a great video today, courtesy of MSN.com/The History Channel: colorized footage of just-restored footage from Okinawa, originally shot in 1945. Here's another one of Iwo Jima. Both are highly recommended (you may have to wade through a commercial first).
I love the old black-and-white combat footage, but it sometimes adds another layer of separation and unreality from what was a very bloody, violent, and not-so-distant conflict. While I'm not wild about the idea of colorizing old movies, when it comes to actual footage of real events, I'm all in favor.
To all of our war veterans, past and present, thank you for your service.
To old friend and World War II veteran Ed Cassidy, laid to rest this past weekend in Andover, NH, God speed.
Thursday, November 5, 2009
Cimmerian sighting: The Book of Merlyn and its Howardian connection
A good man’s example always does instruct the ignorant and lessens their rage, little by little through the ages, until the spirit of the waters is content: and so, strong courage to Your Majesty, and a tranquil heart.
—T.H. White, The Book of Merlyn
The King Arthur myth has been told, re-told, and re-imagined countless times. I’ve read many interpretations, though far from all, from authors as diverse as Bernard Cornwell (The Warlord Trilogy) to Mary Stewart (The Crystal Cave, The Hollow Hills, et. al.). But of all these, The Once and Future King and its separately published conclusion, The Book of Merlyn, is probably the most approachable version of the Arthur myth I’ve ever encountered. And it’s certainly my favorite.
For obvious reasons, I often feel a need to draw parallels between Robert E. Howard and other authors when writing blog posts over at The Cimmerian. But in this case, I didn’t have to look far, nor make any dubious, tenuous connections. At their core, White and Howard share the same pessimistic view of humanity. For Howard, barbarism was the natural state of mankind. White believed that mankind’s natural state was Homo Ferox, or “Ferocious man.” There is no leap required; these two men of different nationalities and stations in life drew the same bleak conclusions about mankind.
To read the rest of this post, visit The Cimmerian Web site.
—T.H. White, The Book of Merlyn
The King Arthur myth has been told, re-told, and re-imagined countless times. I’ve read many interpretations, though far from all, from authors as diverse as Bernard Cornwell (The Warlord Trilogy) to Mary Stewart (The Crystal Cave, The Hollow Hills, et. al.). But of all these, The Once and Future King and its separately published conclusion, The Book of Merlyn, is probably the most approachable version of the Arthur myth I’ve ever encountered. And it’s certainly my favorite.
For obvious reasons, I often feel a need to draw parallels between Robert E. Howard and other authors when writing blog posts over at The Cimmerian. But in this case, I didn’t have to look far, nor make any dubious, tenuous connections. At their core, White and Howard share the same pessimistic view of humanity. For Howard, barbarism was the natural state of mankind. White believed that mankind’s natural state was Homo Ferox, or “Ferocious man.” There is no leap required; these two men of different nationalities and stations in life drew the same bleak conclusions about mankind.
To read the rest of this post, visit The Cimmerian Web site.
Tuesday, November 3, 2009
Of used book fairs and old King Arthur
I love used book fairs. I find them irresistible, like a dish of peanut M&Ms placed on my desk while I’m trying to work. A local library recently hosted one in which you could fill up a brown paper supermarket bag for the princely sum of $2. Needless to say I walked out of there with a laden sack, nigh to splitting.
Book fairs require you to sift through a lot of junk. Cookbooks, outdated science textbooks, encyclopedia sets (remember those?), V.C. Andrews novels, etc. always seem to dominate. But that’s part of their allure, of course. You have to sift through the silt to find gold.
Less appealing is the frenzied behavior of people grabbing great handfuls of books, seemingly at random, and shoving them in bags. I’ve seen this phenomenon many times and don’t get it. Why do people lose their sense of discrimination when the items in question are cheap, or free? I shouldn't be judgmental--perhaps they were donating them to charity, though my cynical side tells me they'll probably end up for sale on the internet.
This particular fair had a surprising number of decent books worth getting jostled over (I threw a few elbows myself, admittedly). Most notably, I managed to liberate a hardcover copy of The Book of Merlyn by T.H. White.
The Once and Future King happens to be one of my favorite books of all time, achieving a rare five-star “perfect” rating in my pseudo-scientific, highly subjective book rankings. While The Book of Merlyn—the previously unpublished conclusion to The Once and Future King—is not as good as its predecessor when compared as a standalone work, it was never intended to be a sequel, but a part of the whole, the final chapter of a wonderful story. It’s definitely worth owning. So although I already own the softcover, I snatched it up and stuffed it into my sack.
The hardcover of The Book of Merlyn has the advantage over the paperback of large print, glossy, sturdy pages, and wonderful, full-page, black and white illustrations (tangent—does anyone else appreciate the beauty of a good hardcover book? I used to be a paperback junkie, but I’ve since converted. The heft and stateliness of a good hardcover have won out over utility and portability).
Once I had The Book of Merlyn at home I was overcome by the urge to read it again. Just as I remembered, it remains a wonderful book. Some of the grabby boors at the book fair would do well to read it and let its lesson sink in--being, of course, that Might does not equal Right.
I’ll be posting a full review on Thursday.
In the meantime, here is a summary of my finds at the fair:
The Sea-Wolf and Selected Stories, Jack London (great writer--'nuff said)
Secret Weapons of World War II, Gerald Pawle (as a WWII buff, I was delighted to find this)
The Black Death, Philip Ziegler (Not surprisingly I'm a fan of medieval times, and I've never read a full accounting of the Black Death)
Hamlet (Norton Critical Edition), William Shakespeare (I own a copy of Hamlet, but the Norton Critical Editions are must-owns for the additional essays/criticism, and notes).
The Shining, Stephen King (hardcover--I own the paperback)
The Book of Merlyn, T.H. White (hardcover, illustrated)
The Dark is Rising, Susan Cooper (hardcover, entire five book series collected and unabridged--a great find!)
Guns, Germs, and Steel, Jared Diamond (I've heard a lot of good things about this one)
Let's Roll, Lisa Beamer (a story of the heroes of United Flight 93)
Assorted books for my children
Book fairs require you to sift through a lot of junk. Cookbooks, outdated science textbooks, encyclopedia sets (remember those?), V.C. Andrews novels, etc. always seem to dominate. But that’s part of their allure, of course. You have to sift through the silt to find gold.
Less appealing is the frenzied behavior of people grabbing great handfuls of books, seemingly at random, and shoving them in bags. I’ve seen this phenomenon many times and don’t get it. Why do people lose their sense of discrimination when the items in question are cheap, or free? I shouldn't be judgmental--perhaps they were donating them to charity, though my cynical side tells me they'll probably end up for sale on the internet.
This particular fair had a surprising number of decent books worth getting jostled over (I threw a few elbows myself, admittedly). Most notably, I managed to liberate a hardcover copy of The Book of Merlyn by T.H. White.
The Once and Future King happens to be one of my favorite books of all time, achieving a rare five-star “perfect” rating in my pseudo-scientific, highly subjective book rankings. While The Book of Merlyn—the previously unpublished conclusion to The Once and Future King—is not as good as its predecessor when compared as a standalone work, it was never intended to be a sequel, but a part of the whole, the final chapter of a wonderful story. It’s definitely worth owning. So although I already own the softcover, I snatched it up and stuffed it into my sack.
The hardcover of The Book of Merlyn has the advantage over the paperback of large print, glossy, sturdy pages, and wonderful, full-page, black and white illustrations (tangent—does anyone else appreciate the beauty of a good hardcover book? I used to be a paperback junkie, but I’ve since converted. The heft and stateliness of a good hardcover have won out over utility and portability).
Once I had The Book of Merlyn at home I was overcome by the urge to read it again. Just as I remembered, it remains a wonderful book. Some of the grabby boors at the book fair would do well to read it and let its lesson sink in--being, of course, that Might does not equal Right.
I’ll be posting a full review on Thursday.
In the meantime, here is a summary of my finds at the fair:
The Sea-Wolf and Selected Stories, Jack London (great writer--'nuff said)
Secret Weapons of World War II, Gerald Pawle (as a WWII buff, I was delighted to find this)
The Black Death, Philip Ziegler (Not surprisingly I'm a fan of medieval times, and I've never read a full accounting of the Black Death)
Hamlet (Norton Critical Edition), William Shakespeare (I own a copy of Hamlet, but the Norton Critical Editions are must-owns for the additional essays/criticism, and notes).
The Shining, Stephen King (hardcover--I own the paperback)
The Book of Merlyn, T.H. White (hardcover, illustrated)
The Dark is Rising, Susan Cooper (hardcover, entire five book series collected and unabridged--a great find!)
Guns, Germs, and Steel, Jared Diamond (I've heard a lot of good things about this one)
Let's Roll, Lisa Beamer (a story of the heroes of United Flight 93)
Assorted books for my children
Wednesday, October 28, 2009
A review of Ray Bradbury’s The Martian Chronicles
All right, then, what is Chronicles? Is it King Tut out of the tomb when I was three? Norse Eddas when I was six? And Roman/Greek gods that romanced me when I was ten? Pure myth. If it had been practical, technologically efficient science fiction, it would have long since fallen to rust by the road.
--Ray Bradbury, The Martian Chronicles
I’ve never been a big reader of science fiction, largely because, rightly or wrongly, my perception is that SF worships at the altar of technology, and is fixated upon cold, clinical subject matter for which I have little interest. But if the SF genre contained more books like Ray Bradbury’s The Martian Chronicles, I might view it a lot differently.
The Martian Chronicles tells the story of mankind’s colonization of the red planet. Driven by curiosity and the impending destruction of a worldwide atomic war, men send rocket expeditions to Mars in hopes of settling the planet and finding a place to carry on their civilization. It’s not a traditional novel, but a collection of short stories originally published in Planet Stories, Thrilling Wonder Stories, and a handful of other defunct SF magazines, which Bradbury ties together with a series of vignettes.
The Martian Chronicles was first published in 1950 and Bradbury set the first story, “Rocket Summer,” in a fictional (and then-distant) 1999; this latter printing advances the timeline to 2030. The Martian Chronicles certainly has some SF surface trappings, and the tale “There Will Come Soft Rains” (a haunting story about the aftermath of an atomic war) probably fits that category. But it’s certainly not hard SF. Bradbury doesn’t dwell on the Martian technology nor offer explanations for how it works. He describes what little there is in his inimitable short strokes of brilliant, poetic color: Houses with tables of silver lava for cooking bits of meat, pillars of rain that can be summoned for washing, metal books that sing their stories, like a fine instrument under the stroke of a hand.
In the introduction to the 2009 Blackstone Audio, Inc., production of the book, Bradbury says that the larger themes and deeper meanings of his work were buried in his subconscious as he wrote. It wasn’t until he saw an onstage production of The Martian Chronicles, juxtaposed with a viewing of a traveling Tutankhamun exhibit at the Las Angeles Art Museum, that he made the leap—he had written a myth, not a science fiction story:
Rather than explaining the hows and whys of rocket travel, or describe the atmospheric conditions of the red planet, Bradbury uses The Martian Chronicles to explore the age-old problems of colonization/colonialism, our fears of the unknown, our longing for simpler times, and the limitations of science and technology. It’s intensely elegiac, an ode to the quiet towns and neighborhoods of the 1920s and 30s, before the sprawl of cities and suburbs and the opening of the Pandora’s Box of atomic power.
The heart of the book is the short story, “And the Moon be Still as Bright,” which concerns a fourth rocket expedition to the red planet. The first three missions have failed. Mars is empty, its cities ghostly and vacant. The Martians have been hit hard by chicken pox, infected by the crew of one of the previous expeditions. When several crewmembers of the latest expedition get drunk and vandalize a beautiful Martian city of glass spires, one of the crewmen, Jeff Spender, turns on them in a murderous rampage.
Later, atop a hill, Captain Wilder approaches Spender in an effort to get him to surrender. Spender, who initially seems crazy, is revealed as the man with the clearest vision. He knows what modern man is like, a professional cynic who wants to tear down and rebuild in his own image, citing Cortez’s mission to Mexico (which wiped out nearly all traces of the Aztec Empire). Spender has read the Martians’ books and seen the relics of their culture, and discovers that it is a perfect balance of science and religion, nature and man (Martian) in harmony, with neither side dominant. Says Spender:
As with all of Bradbury’s tales, The Martian Chronicles contains its share of humor, terror, heartbreak, and hope, and is written in Bradbury's beautiful, one-of-a-kind style. It holds a deserved place as science fiction classic, even as it transcends the genre and defies our attempts to categorize it.
--Ray Bradbury, The Martian Chronicles
I’ve never been a big reader of science fiction, largely because, rightly or wrongly, my perception is that SF worships at the altar of technology, and is fixated upon cold, clinical subject matter for which I have little interest. But if the SF genre contained more books like Ray Bradbury’s The Martian Chronicles, I might view it a lot differently.
The Martian Chronicles tells the story of mankind’s colonization of the red planet. Driven by curiosity and the impending destruction of a worldwide atomic war, men send rocket expeditions to Mars in hopes of settling the planet and finding a place to carry on their civilization. It’s not a traditional novel, but a collection of short stories originally published in Planet Stories, Thrilling Wonder Stories, and a handful of other defunct SF magazines, which Bradbury ties together with a series of vignettes.
The Martian Chronicles was first published in 1950 and Bradbury set the first story, “Rocket Summer,” in a fictional (and then-distant) 1999; this latter printing advances the timeline to 2030. The Martian Chronicles certainly has some SF surface trappings, and the tale “There Will Come Soft Rains” (a haunting story about the aftermath of an atomic war) probably fits that category. But it’s certainly not hard SF. Bradbury doesn’t dwell on the Martian technology nor offer explanations for how it works. He describes what little there is in his inimitable short strokes of brilliant, poetic color: Houses with tables of silver lava for cooking bits of meat, pillars of rain that can be summoned for washing, metal books that sing their stories, like a fine instrument under the stroke of a hand.
In the introduction to the 2009 Blackstone Audio, Inc., production of the book, Bradbury says that the larger themes and deeper meanings of his work were buried in his subconscious as he wrote. It wasn’t until he saw an onstage production of The Martian Chronicles, juxtaposed with a viewing of a traveling Tutankhamun exhibit at the Las Angeles Art Museum, that he made the leap—he had written a myth, not a science fiction story:
“Moving back and forth from Tut to theatre, theatre to Tut, my jaw dropped. ‘My God,’ I said, gazing at Tutankhamun’s golden mask. ‘That’s Mars. My God,’ I said, watching my Martians on stage, ‘That’s Egypt, with Tutankhamun’s ghosts.’ So before my eyes and mixed in my mind, old myths were renewed, new myths were bandaged in papyrus and lidded with bright masks. Without knowing, I had been Tut’s child all the while, writing the red world’s hieroglyphics, thinking I thrived futures even in dust-rinsed pasts… Science and machines can kill each other off or be replaced. Myth, seen in mirrors, incapable of being touched, stays on. If it is not immortal, it almost seems such.”
Rather than explaining the hows and whys of rocket travel, or describe the atmospheric conditions of the red planet, Bradbury uses The Martian Chronicles to explore the age-old problems of colonization/colonialism, our fears of the unknown, our longing for simpler times, and the limitations of science and technology. It’s intensely elegiac, an ode to the quiet towns and neighborhoods of the 1920s and 30s, before the sprawl of cities and suburbs and the opening of the Pandora’s Box of atomic power.
The heart of the book is the short story, “And the Moon be Still as Bright,” which concerns a fourth rocket expedition to the red planet. The first three missions have failed. Mars is empty, its cities ghostly and vacant. The Martians have been hit hard by chicken pox, infected by the crew of one of the previous expeditions. When several crewmembers of the latest expedition get drunk and vandalize a beautiful Martian city of glass spires, one of the crewmen, Jeff Spender, turns on them in a murderous rampage.
Later, atop a hill, Captain Wilder approaches Spender in an effort to get him to surrender. Spender, who initially seems crazy, is revealed as the man with the clearest vision. He knows what modern man is like, a professional cynic who wants to tear down and rebuild in his own image, citing Cortez’s mission to Mexico (which wiped out nearly all traces of the Aztec Empire). Spender has read the Martians’ books and seen the relics of their culture, and discovers that it is a perfect balance of science and religion, nature and man (Martian) in harmony, with neither side dominant. Says Spender:
“[The Martians] quit trying too hard to destroy everything, to humble everything. They blended religion and art and science because, at base, science is no more than an investigation of a miracle we can never explain, and art is an interpretation of that miracle. They never let science crush the aesthetic and the beautiful. It’s all simply a matter of degree. An Earth Man thinks: ‘In that picture, color does not exist, really. A scientist can prove that color is only the way the cells are placed in a certain material to reflect light. Therefore, color is not really an actual part of things I happen to see.’ A Martian, far cleverer, would say: ‘This is a fine picture. It came from the hand and the mind of a man inspired. Its idea and its color are from life. This thing is good.’”It’s interesting to note that the Martians are not perfect, and in striving for balance they may have lost something. In “Ylla,” the second story/chapter of the book, a Martian woman upsets her husband to the point of murder. As the Martians are telepathic, Ylla is able to “speak” to the astronauts as they draw near in their silver rocket. She learns their burning desires and their strange songs. Despite the harmonious, tranquil, idyllic environment all around her, the brown-skinned, golden-eyed Ylla wants to be swept away to earth, crushed in the embrace of the white-skinned, dark-haired, blue-eyed Nathaniel York. For all its piggishness and destructiveness, the race of men is passionate, burning with the desire to live and explore.
As with all of Bradbury’s tales, The Martian Chronicles contains its share of humor, terror, heartbreak, and hope, and is written in Bradbury's beautiful, one-of-a-kind style. It holds a deserved place as science fiction classic, even as it transcends the genre and defies our attempts to categorize it.
This review also appears on SFF audio.com: http://www.sffaudio.com/?p=12692
Sunday, October 25, 2009
Cimmerian sighting: Iron Maiden's The Trooper
(Note: Over at The Cimmerian, fellow blogger Deuce Richardson asked if we could supply posts to commemorate October 25th, which has resounded throughout military history as a date for epic, bloody battles. Following is my tribute to a famous charge and the heavy metal song that immortalized it, at least in my eyes).
Not everyone who comes to appreciate history arrives via the same path. Some have their interest piqued in school by reading traditional textbooks. Others learn from wisdom passed down in tales told by grandparents and great-grandparents. Still others get hooked from watching the (occasionally) fine programming of the History and Discovery channels.
Then there are those who learned about great historic battles at the feet of those long-haired, spandex-encased professors of heavy metal, Iron Maiden. I count myself in this crowd. ‘Twas Maiden who got me more interested in learning about the horrific World War I battle of Paschendale. ‘Twas Maiden that helped provide the impetus for my lifelong love of World War II with their take on the Battle of Britain, “Aces High.” And of course, it was Maiden that helped spark my interest in that famous engagement of the Crimean War, the charge of the Light Brigade at Balaklava.
This insane, glorious charge of horsemen into the roaring mouths of Russian guns was of course made famous by British poet Alfred Tennyson in his poem “The Charge of the Light Brigade.” But for those denim-jacketed outcast teens growing up in the 80’s, the Charge was immortalized by Maiden in their smash-hit, “The Trooper.” I've always thought of Iron Maiden as the heavy metal band that catered to the semi-nerdy crowd. If you were smart, you liked history and of course you liked Iron Maiden.
To read the rest of this post, visit The Cimmerian web site.
Not everyone who comes to appreciate history arrives via the same path. Some have their interest piqued in school by reading traditional textbooks. Others learn from wisdom passed down in tales told by grandparents and great-grandparents. Still others get hooked from watching the (occasionally) fine programming of the History and Discovery channels.
Then there are those who learned about great historic battles at the feet of those long-haired, spandex-encased professors of heavy metal, Iron Maiden. I count myself in this crowd. ‘Twas Maiden who got me more interested in learning about the horrific World War I battle of Paschendale. ‘Twas Maiden that helped provide the impetus for my lifelong love of World War II with their take on the Battle of Britain, “Aces High.” And of course, it was Maiden that helped spark my interest in that famous engagement of the Crimean War, the charge of the Light Brigade at Balaklava.
This insane, glorious charge of horsemen into the roaring mouths of Russian guns was of course made famous by British poet Alfred Tennyson in his poem “The Charge of the Light Brigade.” But for those denim-jacketed outcast teens growing up in the 80’s, the Charge was immortalized by Maiden in their smash-hit, “The Trooper.” I've always thought of Iron Maiden as the heavy metal band that catered to the semi-nerdy crowd. If you were smart, you liked history and of course you liked Iron Maiden.
To read the rest of this post, visit The Cimmerian web site.
Thursday, October 22, 2009
Cimmerian sighting: A Q&A session with the editors of Heroic Fantasy Quarterly
Outside of a handful of anthologies and magazines, the market for the genre known as heroic fantasy is as dry as the sands of Stygia. Which is why I’m so excited to see newcomer Heroic Fantasy Quarterly (HFQ) enter the fray, broadsword in hand.
HFQ describes itself as a home for stories with “an emphasis on action. Be it an exchange of blows or insults, the spurring-on of steed, or the application of poultices to wounds, things happen and happen quickly in the pages of HFQ.”
HFQ publishes both short stories and heroic-flavored poetry on its web site. It’s a free publication and also pays its contributors, which will hopefully encourage new young writers to publish in this sadly neglected field.
Below, editors Adrian Simmons and David Farney generously provided the following answers to The Cimmerian regarding their new venture. HFQ published its first issue in July and recently released its second issue, featuring three short stories and two poems.
Q: What made you launch this venture, given the general trends in publishing that favor multi-volume, epic fantasy?
Adrian Simmons: Crazy as it sounds, the idea came from all the young adult fiction that grownups are reading. Why are they reading YA fiction? Because something HAPPENS in it. Plus, clearly there is a niche—the universe of short heroic fantasy venues has been shrinking, and although there are several places that pay for and publish the genre, there was a need for someone that paid triple digits.
David Farney: Turning 40! I’ve had real difficulty finding any fantasy I enjoyed as much as the Elric and Conan and Corum stories that blew me away as a teen. Translation: I think in HFQ I’m trying to rediscover or recapture some essence of my childhood. And though it’s been a lot of work, some of the stories coming into HFQ are indeed rekindling that sense of amazement in me. Also, like Adrian, I agree that S&S and Heroic Fantasy are getting pushed aside by the many other fantasy subgenres, both in short fiction and novel-length. That said, there’s PLENTY of solid short fantasy published both online and in print, but a real lack of S&S and Heroic. As writers of Heroic Fantasy, it occurred to us there are doubtless many others just like us who can’t find appropriate markets for their work, or who as fans keep reading older and older material (or YA) because the writing and storytelling is digestible and much faster paced.
To read the rest of this post, visit The Cimmerian Web site.
HFQ describes itself as a home for stories with “an emphasis on action. Be it an exchange of blows or insults, the spurring-on of steed, or the application of poultices to wounds, things happen and happen quickly in the pages of HFQ.”
HFQ publishes both short stories and heroic-flavored poetry on its web site. It’s a free publication and also pays its contributors, which will hopefully encourage new young writers to publish in this sadly neglected field.
Below, editors Adrian Simmons and David Farney generously provided the following answers to The Cimmerian regarding their new venture. HFQ published its first issue in July and recently released its second issue, featuring three short stories and two poems.
Q: What made you launch this venture, given the general trends in publishing that favor multi-volume, epic fantasy?
Adrian Simmons: Crazy as it sounds, the idea came from all the young adult fiction that grownups are reading. Why are they reading YA fiction? Because something HAPPENS in it. Plus, clearly there is a niche—the universe of short heroic fantasy venues has been shrinking, and although there are several places that pay for and publish the genre, there was a need for someone that paid triple digits.
David Farney: Turning 40! I’ve had real difficulty finding any fantasy I enjoyed as much as the Elric and Conan and Corum stories that blew me away as a teen. Translation: I think in HFQ I’m trying to rediscover or recapture some essence of my childhood. And though it’s been a lot of work, some of the stories coming into HFQ are indeed rekindling that sense of amazement in me. Also, like Adrian, I agree that S&S and Heroic Fantasy are getting pushed aside by the many other fantasy subgenres, both in short fiction and novel-length. That said, there’s PLENTY of solid short fantasy published both online and in print, but a real lack of S&S and Heroic. As writers of Heroic Fantasy, it occurred to us there are doubtless many others just like us who can’t find appropriate markets for their work, or who as fans keep reading older and older material (or YA) because the writing and storytelling is digestible and much faster paced.
To read the rest of this post, visit The Cimmerian Web site.
Tuesday, October 20, 2009
Ed Cassidy and Don Teschek: The postwar years
Note: This is part 2 of a 2-part article. You can read part 1 here.
Pictured above, Don Teschek and his daughter Karen on Lynn Beach, circa 1948.
Homeward bound
While Don and Ed served overseas, Eleanor sacrificed at home. Shortly after the outbreak of war at the age of 17 she had begun work at the Employer’s Group, which had changed its name to the Commercial Union. It was a time of sacrifice and scarcity: She recalls ration tickets, Victory Gardens, war bonds, brown-outs, and not having any nylons to wear (the armed forces needed the material for parachutes, she recalls). Her boss, 38-year-old Bob Anderson, was drafted into the service despite having two children at home. “It was such a long war and on so many fronts, they literally were running out of manpower,” she says.
She also remembers casualty lists: One of her friends, Red Slack, a young man with whom she used to dance, was killed in combat in Germany.
When V-E Day (Victory in Europe) and V-J Day (Victory in Japan) occurred, cities across the U.S. erupted in a wild celebration. The Commercial Union and all the rest of businesses in Boston emptied their workers—mostly females and older men past the age of military service—into the streets.
“It was great—we threw all the adding machine tapes and rolls of toilet paper out the windows like streamers, and went out and danced all around post office square when it was over,” Eleanor says.
After the war, Cassidy, his wife Kay, and Don eventually returned to the Boston area and resumed work at the Commercial Union. When Eleanor first caught sight of Don strolling into the office—tall and dressed sharply in a beige suit, but yellow-skinned from malaria pills and bad diet—she wasn’t so impressed.
“Over the years I had heard about him because he worked in (my) department,” Eleanor says. “I can remember the first thing I said was, ‘I don’t think he was so hot.’”
Nevertheless, the pair began dating and eventually married in 1946. Both families settled down and began raising families in the post-war years: Ed and Kay had four sons, Don and Eleanor three daughters.
Ed and Don didn’t talk about the war much, though they’d occasionally share a memory that stuck with them. Cassidy says it wasn’t the horrors of war or the grand sweep of the world-wide conflict they had participated in that prompted their conversations, but most often the small things. “We’d remember how bad the food was,” says Cassidy, recalling that the ice cream and fresh-baked Australian bread were manna from heaven in comparison.
The Andover connection
In 1953-54 Ed and Don began looking at summer property in New Hampshire. They initially considered a campground on Webster Lake, but that proved too expensive. Cassidy was alone when he first saw the Maple Street property in June 1954. It was a former orchard and a few apple trees remained on the long, sloping hill down to the lakefront, along with a small beach that caught Cassidy’s eye.
“The scoop was the woman that owned it had bought it, and her boys would use it, but because of the war, they had circulated around the country just like all of us did,” he says. “They met gals they ended up marrying and were out of state. So this place was not being utilized like she thought it would be and she decided to sell.”
Cassidy called Teschek and told him about the property, and the latter gave him the okay to tie it up. At the time, the price seemed high and it was a struggle for the two families to make payments.
“A lot of people thought we paid too much because a lot of land was going for cheaper, but not necessarily waterfront,” Cassidy recalls. “Land in general was very reasonable at that time in this area.”
Don and Ed soon set to work building cottages. Between the two of them they had minimal building experience—sheet rocking, plastering, and insulation was about the extent of it, Cassidy says—but that didn’t stop them. They drove up on the weekends and worked hard.
Some of the materials were new and others, including the windows, were second-hand or refurbished. Three windows in the Teschek place were hand-me-downs from Anderson—not the noted window manufacturer, but Eleanor’s boss, who had made it through the war unscathed. They built a pump house by the water’s edge and ran a couple of lines up the hill for a water supply. Cassidy recalls that they tried to drive a point for a well, but the rocky Andover soil wouldn’t oblige.
They started on the Cassidy cottage first. To speed things up the two men took a working vacation, pitching a 9x12 white sidewall tent and cooking their meals on a gasoline camp stove. Teschek slept in his car. Though quite different in their approaches to construction, the two men nevertheless made an efficient tag-team.
“Ed Cassidy is very deliberate in everything he does and [Don] was more apt to go ahead and get it done whether or not it was perfect all the time,” Eleanor recalls. “All of our couple friends knew these traits and we used to have a saying that if Ed built the cottage himself, he would still be building, and if Don built it himself, they would have fallen down years ago.
“Ed would be measuring and measuring and Don would say, ‘It’s only a cottage, Ed, nail it up,’” she adds. “I used to joke and say Don would fix the plumbing with a piece of chewing gum. In spite of these differences, together they got everything done.”
The work was hard but progressed rapidly. They got the Cassidy cottage framed, the windows in, the roof on, and put down felt paper. With a dry roof overhead they moved right in, even though the sides were open.
But late that first summer their work suffered a setback in the form of a raging storm that grew worse as the day progressed. As the wind whipped and the rain sheeted down, Cassidy and Teschek climbed up on the roof to try and keep the felt paper on—a futile and dangerous effort. Only later did the two men find out the raging blow was actually a hurricane.
Eventually the storm was too much and they retreated to Teschek’s brother’s house in Concord and holed up there until the storm blew through. “We came back and resurrected whatever we could. It was wide open so it wasn’t watertight,” Cassidy says.
Don and Ed worked hard to make up for lost ground, coming up every Saturday morning to work and leaving late on Sunday afternoon. By the end of the summer Cassidy says his cottage (pictured at right, Teschek cottage visible at rear, left) was nearly done.
The next year the two men scraped together enough money for materials and got started on Teschek’s cottage. They worked on it into the late fall and had the roof shingled, the siding nailed down, and the windows in when it started snowing on a Sunday afternoon. The early snow was a bad sign of a wicked winter to come.
“That winter we had very severe winter, lot of snow, rain, freezing, and the roof was loaded with snow and ice,” Cassidy recalls. “A lot of places collapsed, including commercial buildings, and that place collapsed too.” Under the weight of snow the roof fell in, pushed the back wall of the cottage flat, and knocked it off the platform. The end walls got damaged, too. More rework ensued.
“We had to dismantle everything,” Cassidy says. “We took off all the shingles very carefully and piled them up. Some of the boards were broken, some of the roof rafters were cracked in half, and we had to eventually replace those.”
Fortunately they were able to salvage half of the roof rafters and most of the siding. “Money-wise, it didn’t cost us that much to rebuild,” Cassidy says. “Time-wise, we lost a year.”
Eleanor, who remained home alone with her three children, says it was a period of struggle for her and for Kay. But the finished cottages and the expanded beach eventually turned out beautifully.
For a time the two families rented out the cottages to pay off the mortgage they needed to finance the Teschek cottage—a mortgage that all four (Don, Ed, Eleanor, and Kay) signed together. In the years after the cottages were completed, renters got more use out of them than the Cassidy and Teschek families.
Later, Teschek daughters Karen, Janet, and Joyce, and Cassidy sons Jeff, Bruce, Gary, and Allen began coming up for summer vacations with their parents, and renting the cottages soon was no longer necessary. In the photo at right, Eleanor, Joyce (holding her son Greg), Ed, Don, and Ed's grandson Patrick are pictured enjoying a summer day in the driveway between the cottages.
The two cottages have been reworked and added to over the years, including an extensive overhaul and addition on the Teschek cottage in 1989 by local contractor Patrick Frost. But although the cottages have been expanded upon and updated, their sturdy frames are still very much Cassidy and Teschek.
These days, grandchildren and great-grandchildren of the two families continue to use them, and to enjoy the fruits of the labor and sacrifice of Ed Cassidy and Don Teschek. Their unique friendship, hard work, and lasting legacy as members of The Greatest Generation are not forgotten.
Pictured above, Don Teschek and his daughter Karen on Lynn Beach, circa 1948.
Homeward bound
While Don and Ed served overseas, Eleanor sacrificed at home. Shortly after the outbreak of war at the age of 17 she had begun work at the Employer’s Group, which had changed its name to the Commercial Union. It was a time of sacrifice and scarcity: She recalls ration tickets, Victory Gardens, war bonds, brown-outs, and not having any nylons to wear (the armed forces needed the material for parachutes, she recalls). Her boss, 38-year-old Bob Anderson, was drafted into the service despite having two children at home. “It was such a long war and on so many fronts, they literally were running out of manpower,” she says.
She also remembers casualty lists: One of her friends, Red Slack, a young man with whom she used to dance, was killed in combat in Germany.
When V-E Day (Victory in Europe) and V-J Day (Victory in Japan) occurred, cities across the U.S. erupted in a wild celebration. The Commercial Union and all the rest of businesses in Boston emptied their workers—mostly females and older men past the age of military service—into the streets.
“It was great—we threw all the adding machine tapes and rolls of toilet paper out the windows like streamers, and went out and danced all around post office square when it was over,” Eleanor says.
After the war, Cassidy, his wife Kay, and Don eventually returned to the Boston area and resumed work at the Commercial Union. When Eleanor first caught sight of Don strolling into the office—tall and dressed sharply in a beige suit, but yellow-skinned from malaria pills and bad diet—she wasn’t so impressed.
“Over the years I had heard about him because he worked in (my) department,” Eleanor says. “I can remember the first thing I said was, ‘I don’t think he was so hot.’”
Nevertheless, the pair began dating and eventually married in 1946. Both families settled down and began raising families in the post-war years: Ed and Kay had four sons, Don and Eleanor three daughters.
Ed and Don didn’t talk about the war much, though they’d occasionally share a memory that stuck with them. Cassidy says it wasn’t the horrors of war or the grand sweep of the world-wide conflict they had participated in that prompted their conversations, but most often the small things. “We’d remember how bad the food was,” says Cassidy, recalling that the ice cream and fresh-baked Australian bread were manna from heaven in comparison.
The Andover connection
In 1953-54 Ed and Don began looking at summer property in New Hampshire. They initially considered a campground on Webster Lake, but that proved too expensive. Cassidy was alone when he first saw the Maple Street property in June 1954. It was a former orchard and a few apple trees remained on the long, sloping hill down to the lakefront, along with a small beach that caught Cassidy’s eye.
“The scoop was the woman that owned it had bought it, and her boys would use it, but because of the war, they had circulated around the country just like all of us did,” he says. “They met gals they ended up marrying and were out of state. So this place was not being utilized like she thought it would be and she decided to sell.”
Cassidy called Teschek and told him about the property, and the latter gave him the okay to tie it up. At the time, the price seemed high and it was a struggle for the two families to make payments.
“A lot of people thought we paid too much because a lot of land was going for cheaper, but not necessarily waterfront,” Cassidy recalls. “Land in general was very reasonable at that time in this area.”
Don and Ed soon set to work building cottages. Between the two of them they had minimal building experience—sheet rocking, plastering, and insulation was about the extent of it, Cassidy says—but that didn’t stop them. They drove up on the weekends and worked hard.
Some of the materials were new and others, including the windows, were second-hand or refurbished. Three windows in the Teschek place were hand-me-downs from Anderson—not the noted window manufacturer, but Eleanor’s boss, who had made it through the war unscathed. They built a pump house by the water’s edge and ran a couple of lines up the hill for a water supply. Cassidy recalls that they tried to drive a point for a well, but the rocky Andover soil wouldn’t oblige.
They started on the Cassidy cottage first. To speed things up the two men took a working vacation, pitching a 9x12 white sidewall tent and cooking their meals on a gasoline camp stove. Teschek slept in his car. Though quite different in their approaches to construction, the two men nevertheless made an efficient tag-team.
“Ed Cassidy is very deliberate in everything he does and [Don] was more apt to go ahead and get it done whether or not it was perfect all the time,” Eleanor recalls. “All of our couple friends knew these traits and we used to have a saying that if Ed built the cottage himself, he would still be building, and if Don built it himself, they would have fallen down years ago.
“Ed would be measuring and measuring and Don would say, ‘It’s only a cottage, Ed, nail it up,’” she adds. “I used to joke and say Don would fix the plumbing with a piece of chewing gum. In spite of these differences, together they got everything done.”
The work was hard but progressed rapidly. They got the Cassidy cottage framed, the windows in, the roof on, and put down felt paper. With a dry roof overhead they moved right in, even though the sides were open.
But late that first summer their work suffered a setback in the form of a raging storm that grew worse as the day progressed. As the wind whipped and the rain sheeted down, Cassidy and Teschek climbed up on the roof to try and keep the felt paper on—a futile and dangerous effort. Only later did the two men find out the raging blow was actually a hurricane.
Eventually the storm was too much and they retreated to Teschek’s brother’s house in Concord and holed up there until the storm blew through. “We came back and resurrected whatever we could. It was wide open so it wasn’t watertight,” Cassidy says.
Don and Ed worked hard to make up for lost ground, coming up every Saturday morning to work and leaving late on Sunday afternoon. By the end of the summer Cassidy says his cottage (pictured at right, Teschek cottage visible at rear, left) was nearly done.
The next year the two men scraped together enough money for materials and got started on Teschek’s cottage. They worked on it into the late fall and had the roof shingled, the siding nailed down, and the windows in when it started snowing on a Sunday afternoon. The early snow was a bad sign of a wicked winter to come.
“That winter we had very severe winter, lot of snow, rain, freezing, and the roof was loaded with snow and ice,” Cassidy recalls. “A lot of places collapsed, including commercial buildings, and that place collapsed too.” Under the weight of snow the roof fell in, pushed the back wall of the cottage flat, and knocked it off the platform. The end walls got damaged, too. More rework ensued.
“We had to dismantle everything,” Cassidy says. “We took off all the shingles very carefully and piled them up. Some of the boards were broken, some of the roof rafters were cracked in half, and we had to eventually replace those.”
Fortunately they were able to salvage half of the roof rafters and most of the siding. “Money-wise, it didn’t cost us that much to rebuild,” Cassidy says. “Time-wise, we lost a year.”
Eleanor, who remained home alone with her three children, says it was a period of struggle for her and for Kay. But the finished cottages and the expanded beach eventually turned out beautifully.
For a time the two families rented out the cottages to pay off the mortgage they needed to finance the Teschek cottage—a mortgage that all four (Don, Ed, Eleanor, and Kay) signed together. In the years after the cottages were completed, renters got more use out of them than the Cassidy and Teschek families.
Later, Teschek daughters Karen, Janet, and Joyce, and Cassidy sons Jeff, Bruce, Gary, and Allen began coming up for summer vacations with their parents, and renting the cottages soon was no longer necessary. In the photo at right, Eleanor, Joyce (holding her son Greg), Ed, Don, and Ed's grandson Patrick are pictured enjoying a summer day in the driveway between the cottages.
The two cottages have been reworked and added to over the years, including an extensive overhaul and addition on the Teschek cottage in 1989 by local contractor Patrick Frost. But although the cottages have been expanded upon and updated, their sturdy frames are still very much Cassidy and Teschek.
These days, grandchildren and great-grandchildren of the two families continue to use them, and to enjoy the fruits of the labor and sacrifice of Ed Cassidy and Don Teschek. Their unique friendship, hard work, and lasting legacy as members of The Greatest Generation are not forgotten.
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