This morning I, “Dianne Schirg,” made this marvelous discovery from a simpler time when a family visit to Bellwood, Pennsylvania, was noteworthy.
Category Archives: Life
Magnetic personality, 2019 edition
I haven’t moved since I posted “Magnetic personality” in 2008, but my refrigerator was replaced with a newer model in a different location after an apartment remodeling. Not too long ago, I finished redecorating it with magnets I’d found recently. Here we go:
Events and places
- Boyer Candies (Altoona, Pennsylvania)
- Bristol Renaissance Faire 2018
- Clearwater Historic Lodge, Gunflint Trail (Minnesota, August 2014)
- The Devil’s Kettle, Brule River (Minnesota, August 2014)
- Elk Country Visitor Center (Pennsylvania, year unknown)
- Great Lakes, unsalted and shark-free (Indiana Dunes Visitor Center)
- Indiana Dunes National Lakeshore (two from Indiana Dunes Visitor Center)
- Letchworth — old railroad trestle, since replaced (May 2015)
- Letchworth State Park — wood (May 2015)
- Metropolis, IL., Home of Superman (May 2013)
- The Naniboujou Lodge (Minnesota, August 2014)
- Pa. Dutch Country: Paradise, Bird in Hand, Blue Ball, Intercourse, Virginville • Virginia may be for lovers, but Pennsylvania has Intercourse (visit in 20XX? to Lancaster)
- “Be Your Own Kind of Beautiful” moose, Pictured Rocks National Lakeshore (July 2013)
- Presque Isle State Park, Erie, Pennsylvania (May 2015)
- Rose Hotel (Elizabethtown, Illinois, May 2013)
- Starved Rock (Illinois state park, year unknown)
State souvenirs
- Illinois, Land of Lincoln
- New York, the Empire State
- Pennsylvania, the Keystone State
Decorative/functional/miscellaneous
- Butterflies and planets (powerful magnets)
- Leinie’s Sunset Wheat (gift)
- Lincoln Park Zoo carousel animals
- Pig in overalls with straw hat and grass blade (bookseller included this with a copy of Covered Bridges of Pennsylvania Dutchland)
- Shedd Aquarium octopus (possibly from a 2005 visit)
V-Mail from my dad, Ralph Schirf
A few years ago I did a search on my dad’s name and found an old auction for V-Mail (“Greetings from Britain”) from Private Ralph Schirf. I hadn’t known about the auction, long since over, in time to bid. Here are the clues that it’s from my dad:
- Ralph Schirf is a unique name. Schirf is rare, and we’re all related. Ralph Schirf is one of a kind.
- He was from the Altoona, Pennsylvania, area.
- He served as a private in the Army Air Forces during WWII in England (artillery, I believe, although he didn’t talk about it). He was honorably discharged as a corporal.
- That’s his block printing.
- His beloved sister Marjorie married a Way (Ellis G. in the obituary of one of their children).
- He once signed a birthday card to me “Father Ralph.” It’s not a stretch to imagine him signing “Brother Ralph” to his sister.
I would love if the buyer found this post and offered to sell me Dad’s V-Mail, but in lieu of the physical pieces I’ll have to be content with small digital photos.
Here’s more from the Postal Museum about V-Mail.
USPS PDF about the history and process of sending V-Mail.
My dad:
And his grave in Bellwood, Pennsylvania, outside Altoona:
Cinco de Mayo stroll at Promontory Point
It’s hard to feel unhappy when you greet a day like this.
Lazy kind of day
Hodge back from the veterinarian’s
Amtrak train incident, Albion, Michigan
Right now, all over the world, a nearly infinite number of things are happening. Hawks pursue rabbits; factions make war; dust filters through the atmosphere; buildings burn; stars shine; children die. Things happen, and everything changes. No one can comprehend it all, only what we experience. Our limitations are our protection; in omniscience lies madness.
My thoughts rambled on during the train trip from Chicago to Ann Arbor. In my limited view from one of the train’s windows, it was a perfect, sunny mid-September day, and in the back of my mind I was looking forward to a weekend spent with friends. I gazed out the window, unable to focus on reading or the other usual train pursuits.
The Amtrak passenger train braked more suddenly than usual, throwing everyone slightly forward. It seemed a strange place to stop, in the middle of a crossing in Albion, Michigan. Sometimes passenger trains halt to allow their freight brethren to pass, but generally the delay takes place out of the way and doesn’t interfere with auto traffic. To me, sitting in the second car, just on the crossing, this stop felt different.
It was.
A couple in an auto waiting at the crossing got out and walked toward the train. I wondered why.
At first, the passengers continued their pursuits — chatting, reading, listening to music through earphones, eating, drinking, or staring out the window, perhaps thinking of what the end of the trip held — reunion with family, school, work. At last, however, the low buzz of activity and conversation heightened as more people noticed how unusually long the train had stopped. A few made joking comments. The uniformed personnel who generally bustle back and forth between the cars had all disappeared. There was no one to ask about the delay.
A rumor from the first car floated back to mine; the train had hit a person in a motorized wheelchair. A motorized wheelchair? What is the likelihood of a motorized wheelchair being in the crossing just when a train is coming? In a small town in Michigan? Then, what is the likelihood that someone would think up that particular scenario?
Someone must have been hit or hurt, or perhaps become seriously ill; a PA announcement requested that any medical professionals on the train make their way to the café car.
The Albion police and two ambulances arrived. The police quickly set up the yellow “Police Line — Do Not Cross” tape around the triangle bordered by the train’s first car and a half and the grassy area next to the crossing, using several convenient trees. Two young women, late ‘teens or early twenties, stood on the grass, hugging each other and crying. The couple from the auto and then the paramedics talked to them and tried uncomfortably to comfort them. I wondered if they had seen the accident, or if they knew the victim well. For a while, they sat on a curb next to the crossing, but at some point they must have left. I wondered if they would seek professional help.
The conductor walked through the train asking that people not open any of the outside doors. “It’s very morbid, believe me,” he said. I knew then that the medical professionals requested earlier were not for the accident victim, but for someone else.
Both ambulances were parked for at least an hour, lights flashing and paramedics walking about, but no one seemed to be doing anything; it all seemed very disorganized and haphazard, almost dreamlike. Finally, both ambulances left, leaving only the police and what were most likely witnesses as well as the invariable spectators. By now, even the couple in the auto had driven off.
For a long time, the police wandered around aimlessly, at least to my inexperienced eyes. One man, sporting long hair and civilian clothes, talked to nearly everyone else, including the police and witnesses, although his role was unclear. He gestured and pointed quite a bit. He remained on the scene during the entire investigation. Other people noticed him as well and wondered who he was.
Meanwhile, the people on the train were becoming impatient. The man across from me spoke of a birthday party in Dearborn he was to attend, schedule for 6 p.m. Two women in front of me were going to two separate wedding showers. When they discovered their purpose in traveling was identical, even though the destinations weren’t, they fell into a deep conversation.
Some of the police began to board my car and walk toward the back, returning to the front and exiting a few minutes later. It occurred to me that they were probably using the lavatory. A crowd had gathered in the foyer between the first and second cars, and the police and conductors had to make their way through them. I didn’t see any reason for the convention, other than to be in the way or to see something of the action. They were a chatty, laughing group.
As the quarter hours, half hours, and hours passed, the passengers became more restless and agitated, wondering how long it would be before the train would be allowed to move on. A very young police officer told our car that the area was considered a “crime scene” and that they could not allow people off the train to contaminate the integrity of the scene. The photographers and others still needed to do their work. They were working as quickly as they could, he said, but could not make any promises about when the train would be released. I wondered what the “crime” was.
I overheard that we were waiting for another engineer to arrive; the train’s engineer was too traumatized to continue. I wasn’t surprised. I’d read before that train engineers involved in accidents suffered trauma long afterwards. Imagine seeing that you are about to hit someone and that that person is about to die. This probably has happened to many an auto driver, but without the surety of death, nor the particularly grisly qualities of a collision between train and human. Most likely only an engineer who has experienced that sickening moment fully understands the trauma and its reasons.
The passengers I heard talking didn’t say much about the victim or the circumstances. Most felt primarily inconvenienced and talked about why with people nearby. Some complained that no one from either Amtrak or the police was providing us with necessary information about when the trip was to resume. There was a rush toward the train’s only phone; one person came back and said offhandedly to anyone listening, “Don’t even think of trying to get to the phone.” “There a line?” one man asked. “Is there ever!”
Outside, the sun continued to create the perfect day. I looked out the window, forward, and for the first time noticed a motorized wheelchair. The police must have put it there within the last half hour. Next to it lay something covered in white. I must have reacted; the man across from me asked me if I’d seen something. “No, not really,” I answered. I didn’t want him or anyone else to talk about what lay under the white. I tried not to look at it, but it was directly in my line of my vision. I saw it and thought, “Only a couple of hours ago, that was a person, maybe going somewhere, just like I am, just like we all are. No more. Just lying there, an object for investigation.”
The police walked around the wheelchair and the body. A photographer appeared and took several photos of the site, including the wheelchair. Another lifted the white material as well — from the other side — and snapped several shots from several angles. The majority of people on the train were unaware of the grisly proceedings.
The man across from me opened a plastic bottle of diet soda. I was thirsty, too, but it seemed disrespectful to satisfy that living desire in the presence of recent death.
On the corner parallel to the train and the crossing, a small herd of boys on bicycles gathered. Each stood poised over his bicycle’s seat, watching the proceedings. It must have been at least 3:30 or 4:30 by then. School was out.
Another police officer boarded the train. He quietly asked the first few people some questions and seemed to disbelieve their answers. He looked around and asked loudly and a little plaintively, “Didn’t anyone see anything?,” as though he couldn’t believe what he had heard. The passengers looked at each other in puzzlement. How could people sitting in the second car be expected to see what must have happened at the front of the train? A young policewoman joined him; they asked each passenger for his or her name, date of birth, address, and phone number, as well as if he or she had seen anything and how fast the train was going at the time of the accident. This last question seemed pointless to me. A train’s speed is very deceptive; usually they are traveling much faster than it feels to the passengers. I suspect the answers ranged from five mph to 70 mph — all subjective guesses and not very reliable in determining exactly what happened. My own estimate was 15-20 — but I would not swear to that.
People continued to be increasingly restless. Another rumor began circulating — that the train was going to back up to the last station, which was quite a way back, so the police could get clearer photographs and drawings. The complaints began again. “I’ve got a better idea — why don’t we move forward?” Not too long after, the train started backing up, and several passengers began groaning. I watched the wheelchair and the white-covered mass recede before me.
The train did not back up to the last station, but just far enough to be out of the way of the police and probably most of the crossings. The passengers became louder as more and more talked to each other. A series of conversations unrelated to the accident arose as people found out where their neighbors were from, where they were traveling to, and why. The little mob in the front of the car continued to banter and laugh. I kept thinking of the shape lying a few blocks ahead.
Eventually, the engineer arrived, and the police cleared the train to leave. From Albion to Ann Arbor was a fast, uneventful journey; I arrived at 6, about four or five hours late. By then, the day’s bright sunlight was muted with the oncoming night. Later, my friends took me to dinner and then to a nostalgic toy store. Even then, I couldn’t help thinking of the white-covered figure and what it might have been doing had it not been for bad timing — or, perhaps, from its perspective, the timing had been perfect. And how it would never see another bright mid-September day. I thought such thoughts until they became too painful, too overwhelming. I could not think them for the millions of others who died that day. I cannot think them now.
1998
Copyright © Diane L. Schirf
[Not Ferris Bueller’s] day off
Continuing Friday’s theme, I met JT for a visit to another Chicago institution, this time the Field Museum of Natural History. First, however, we walked through a gray drizzle from Union Station to Lou Mitchell’s, where we were greeted with our choice from a bowl of doughnut holes to help sustain us during the short walk from the door to a tiny booth.
Lou Mitchell’s is the kind of throwback that once was a staple of the American experience and still is in select small towns and older neighborhoods in cities like Chicago — a diner, a greasy spoon complete with booths, counter, stools, and older waitresses who may never have thought of themselves as the more upscale “servers.”
While we both chose savory dishes (me, a sour cream omelette with tomato and bacon), we also asked for a pancake on the side. You can’t have a proper breakfast at a greasy spoon without a pancake. But the griddle was out of whack! Quelle tragèdie! Soon they did get it working but not in time for us.
Shortly after 9:30, we caught the 130 bus to Museum Campus. With my ongoing back spasms, exacerbated by any time spent standing, I’d intended to make it a somewhat short day. But with temptations like SUE the T. rex, The Horse, and Whales, it was not to be. Instead of cutting the visit short, I settled for frequent, long sitting spells that temporarily placate my lumbar region.
I don’t want to say much about the special exhibits so anyone in Chicago reading this in passing can go and form their own impressions. Both are outstanding, and The Horse is perfect for someone like me who, as a girl, lived, breathed, and dreamed of the horses she would never have and so settled for following horse racing (No Le Hace, Secretariat) and equestrian events. and reading every book on horses she could find, from the Golden Guide to the Black Stallion and Chincoteague and Assateague Islands series. Like most museum exhibits, The Horse was broad, not deep, designed to whet appetite rather than satiate it. I nearly missed the main reference to the horse in literature, to Black Beauty by Anna Sewell, which was at a child’s eye level and hard to spot. If you want to learn a little about the horse as food, shelter, clothing, entertainment, worker, machine, and even therapist, don’t miss it at the Field — it closes in August.
I’ll say even less about Whales, which, beached and dead, became an integral part of the Maori culture. Although the exhibit is focused on the whale in Maori life and in the New Zealand ecosystem, interactive exhibits cover fascinating details about whale voices and language, their evolution from land to sea mammals, and their amazing physiological adaptations to aquatic life and, for some, ocean depths.
The Horse and Whales are the kind of exhibits from which you emerge feeling like a richer, better person who has experienced generations of culture and wisdom in just a couple of hours.
It’s nearly impossible to visit the Field without paying your respects to SUE the T. rex, the tweeting dinosaur that dominates the north end of the main floor. It’s as though 67 million-year-old bones could have a personality, even an attitude. Much new information has come out about dinosaurs and T. rex in the past few decades (SUE wishes that you didn’t know that, like her/his bald eagle descendants, she/he wasn’t above scavenging much of the time). For example, we’ve repositioned our museum specimens with their tails held straight out like banners, acting as counterbalances, instead of dragging uselessly on the ground. We’ve scoffed at the many misconceptions held by previous generations, but I wonder if our present paleontologists and their conclusions will be a source of scorn to our smarter descendants as they discover yet more, either in the field or in the lab. I doubt that SUE will ever become a vegetarian, and who doesn’t see little dinosaurs in the big featherless heads of newly hatched altricial parrots? I wonder, too, what else we will learn about these not-so-gentle giants. Meanwhile, she swings her head down toward you, flashing her ghastly, toothy grin.
Still stuffed from breakfast, we bypassed the long food line at the Corner Bakery for the shorter one at beverages and desserts. This gave my back another reprieve and both of us a chance to enjoy the view of downtown to the north. I’m used to looking in the other direction now, to the south toward Museum Campus.
After the break, we saw Waking the T. Rex: The Story of SUE (not to be confused with O), which is in 3D, perhaps to reflect the largeness of her life and her not-so-final resting place. Her speculated history sounds more difficult and painful than you might think. She (or he?) suffered numerous injuries as well as an ailment I can relate to: arthritis. SUE is believed to have died at age 28, although she survives in her way 67 million years later, in movies, on T shirts and souvenirs, on Twitter.
Now if scientists could figure out her gender . . .
Ravinia redux
After receiving a reprieve from work, J. was able to go to Ravinia with me for A Prairie Home Companion. After a brief stop at Treasure Island for supplies and at Bonjour for sandwiches, he graciously agreed to drive, a boon to my knackered back.
Despite the string of slow traffic south of Addison, we still had the time and freedom to make a quick stop at the Chicago Botanic Garden, where the Rose Garden is in bloom, along with with a number of brides. This (the blooming roses, not the blushing brides) was a rare treat for J. because he usually misses them by a few months (see: Work). After having seen flowers covered by hundreds of honey- and bumblebees one day at Morton Arboretum, I was disappointed to spot only a lone bumblebee, who wouldn’t stay still long enough for me to get a good photo. (It doesn’t help that I can’t lean over very well or very long.) What really made my day, however, were the cedar waxwings I glimpsed in the bushes. I spotted one by its yellow tail tips and got a great look at them as they flitted about. One of our most beautiful birds. J. missed them.
After J. took a fruitless spin around the gift shop, we made it to Ravinia just before the train did, and while he picked up his ticket I parked in a spot near the path that catches some shade (when it’s sunny) and a view of the screens if not the stage.
Shade wasn’t needed on this overcast day, which almost became cool enough to require a light sweater. Thoughtfully, J. rented chairs, which I have to admit is a lot easier than sitting on a blanket on the ground. One day into my fifties, and I’m already making concessions to age. I don’t like this.
As usual during the Chicago-centric show, J. disappeared for long periods, to shop at the gift store and to take photos and video before and during the show. He returned, I suspect, mainly to refuel on Pirate Booty, falafel, cheese, tuna sandwiches, and cookies.
With comfortable weather, good music and storytelling, and an obvious dearth of mosquitoes, I could have asked for no more to fend off the post-birthday blahs.
A sampling of 2011 culture
I started my new job on March 28 and, just as I was getting used to the new schedule and routine, a nasty cold knocked me out two weeks later. Outside work, dozing off and falling asleep were becoming my only recreational activities.
I did manage to stay awake for a few cultural experiences. On March 30, J. and I met friends for dinner at Ras Dashen before crossing the street to the Broadway Armory for the National Theatre of Scotland’s Black Watch. Aside from the venue name, the space seemed perfect for a dark, spare, echoing look at contemporary war — in Iraq. A storied regiment, Black Watch finds itself a writer’s object of study even as its members recount their observations about their American counterparts. Like making movies, war seems to be a matter of waiting, but with a tragic ending. The starkness of the space reflects the raw emotions the men of Black Watch feel as the war inexorably draws them in and then as the writer, who has seen nothing, tries to draw them out. You had to be there to understand and to know death.
I’d like to be more interested in current movies, but the ongoing crop of action, comedy, reality, and franchise retreads leaves me cold. That’s why I almost missed Jane Eyre. Granted, like most movies now it has been done before. In the version I’ve seen most often, baby-faced Orson Welles does the honors as jaded man of the world Edward Rochester, while Joan Fontaine keeps her lips pursed, her feelings repressed, and her heart open. That Jane Eyre is memorable for a strong performance by Peggy Ann Garner as little hothead sinner Jane, a pretty turn by Elizabeth Taylor as the sweet but sickly Helen, and a cloying but good showing by Margaret O’Brien as Rochester’s coquettish ward (and daughter), Adèle.
While the 1943 Jane Eyre was shot primarily and noticeably within the confines of a sound stage and lot, the 2011 edition is more expansive (and expensive), beginning with a distraught young woman running across the haunting, perpetual twilight of the moors, which may be the best feature of the movie. The rest is almost as claustrophobic as the earlier version or the mad woman’s confinement. For all his wealth, worldliness, and travels, what we see of Rochester’s world is as narrow as Jane’s.
Aside from the brooding open-air cinematography, I didn’t find much to recommend in this Jane Eyre. There’s less focus on Jane’s childhood and the influence of her “education.” The child actors aren’t as important to the movie, and their performances are weak. I found myself missing Peggy Ann Garner’s explosive farewell to her aunt (Agnes Moorehead). Adèle appears tangentially only, speaking French because she’s French, and apparently no one needs to know what she’s saying. She’s there because the plot requires it but what her presence reveals about Rochester’s character is lost. Even Rochester’s supposed intended bride flits through without making an impression. The only character who does is Mrs. Fairfax, the housekeeper, because she’s played by Judi Dench, who is talented enough to pull off such a weak role with aplomb. The man who, along with his sisters, takes Jane in is also noteworthy, but mainly because his appearance is jarring, his personality tightly wound, and his relationship with his guest awkward and forced.
That leaves Jane (Mia Wasikowska) and Rochester (Michael Fassbender), a pairing that has as much chemistry as two inert substances. Jane lacks a distinctive personality, substituting white-faced teariness for controlled emotions. Rochester, who should be bitter, brutal, and enigmatic, seems to be doing his fairest impression of a 1980s sensitive guy in touch with his feminine side. Their pairing, the dynamics of which should be at least a little disturbing, is about as interesting as that between two Yuppies circa 1987. Passion of feeling there is not, especially that passion that makes the Victorian society of literature so compelling. I wanted to like Jane Eyre, but it needed to be more than a movie with pretty scenery and attractive faces rushed through without life or context.
Fast forward from the Industrial Age to the Machine Age and beyond for Death and the Powers by Tod Machover (music) and Robert Pinsky (libretto). This time — perhaps ironically, given the subject matter — the performances outweighed the subject, and the repetitive movements of the Crow-like robots held more interest than either the torturous music or stilted libretto. Strangely, nothing about either music or libretto evoked the monotonous, regular, stifling hum of the machine, despite the use of that word, no matter how awkwardly, enough times to make me grind my teeth reflexively. The music is more random than a well-ordered machine (whether industrial or computer) could make it, although perhaps a machine could create a mood — any mood. It wasn’t even irritating.
In a weird anachronism in this futuristic world of blended man and machine (technology), people still read newspapers, and the print press is still powerful. Neither my hostess nor I quite understood where that came from or what it was supposed to mean. In the age of technology, the conventional notion of the press is obsolete has been for some time. What was the point?
The robots were cute, the set decor different if a bit too reminiscent of a disco, and the performances good. Sara Heaton as the daughter was exceptional, which the audience appreciated. But it’s going to take something truly awful to unseat Death and the Powers as my least favorite opera to date.
Doctor Atomic is modern opera executed beautifully, with music that evokes emotions and a libretto that fuses poetry and arguments into a thought-provoking vision of the apocalypse, before and after. Death and the Powers seemed to be words and notes signifying nothing.