Tag Archives: Book

Coincidence at Play (Again)

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This post originally appeared on April 3, 2016. A few weeks ago I predicted that I would be recycling more blog posts as the ongoing COVID-19 pandemic restricted real-world interaction, but I didn’t think that would be the case this week. I had a pre-canned series post selected when coincidence struck. I was trying to figure out when I had visited a particular museum and resorted to searching this website for some record. The museum is one with many Civil War artifacts so I used those words in the search and this post appeared in the results. I had all but forgotten it but a reread made me think that a repost might be appropriate. As I wrote four years ago, “there’s still plenty of crap going on.” I did, incidentally, read “To Kill a Mocking Bird” within a couple of weeks of seeing the play.

tcamb1I’ve yet to read To Kill a Mockingbird. I have seen the 1962 movie multiple times and now I’ve seen the play. I had hoped to read the book between learning that the play would be performed this season at Cincinnati Playhouse in the Park and actually seeing it but that didn’t work out.

The Friday night performance would be the biggest event of my week but I didn’t expect it to lead to a blog post. I anticipated that a canned Trip Peek would be published this morning. A Friday morning email got me to thinking differently.

The email was the April E-News from the Smithsonian. One of the topics was “The Scottsboro Boys” with this two sentence tease: “The case of the Scottsboro Boys, which lasted more than 80 years, helped to spur the civil rights movement. To Kill a Mockingbird, the Pulitzer Prize-winning novel by Harper Lee, is also loosely based on this case.”

I read the article referenced in the email and could easily see similarities between the 1931 real world incident and the fictional one Harper Lee set just a few years later. Both involved black men accused of imaginary crimes against white women and both occurred in a world where color mattered a whole lot more than truth. Later I read that in 2005 Harper Lee said this was not the incident she had in mind when writing To Kill a Mockingbird but that it served “the same purpose”. Despite there not being an official connection between the Scottsboro Boys and To Kill a Mockingbird, reading about the incident and its repercussions served a purpose for me, too. It provided an unpleasant picture of this country near the midpoint between the Civil War and today. The accuracy of that picture is reinforced by a contemporary pamphlet, They Shall Not Die!, referenced in the Smithsonian article.

tcamb2I took my seat on Friday with the Scottsboro story fresh in my mind. The stage was bare except for a single light bulb which would actually be removed at the play’s start although it would return later. The stage consists of a large circular center and a surrounding ring both of which rotate. Sometimes they rotate in opposite directions which can seem to expand the distance between actors or the distance they travel. Set Designer Laura Jellinek states that “our main goal was to eliminate any artifice between the audience and the story” and this set certainly accomplishes that. As one audience member observed during the discussion that followed the play, she briefly looked around for the jury during the courtroom scene before realizing that “we were the jury”. At its most crowded, the stage holds nine chairs for the key figures in that courtroom scene.

The discussion I mentioned happens after every performance. Anyone interested moves close to the stage to listen or participate. There were naturally questions about this specific production but there were also questions about the story. There is a sign in the lobby that I now wish I’d taken a picture of. “Don’t read books that think for you. Read books that make you think.” might not be 100% accurate but it’s close. Friday night’s discussion was evidence that this play is prompting some thinking and I’ve no reason to think that discussions following other performances are any different.

tcamb3There is also a set of blackboards in the lobby. As I assume is true at every performance, the blackboards started out empty except for a question at the top of each. By the time people started heading home, the boards were full. It’s pretty clear that some thinking is going on here, too.

It was the coincidence of the Smithsonian email showing up on the day I was set to see the play that nudged me towards making it a blog entry. There is another coincidence of sorts that I find interesting.  Each week, the blog This Cruel War publishes an article on lynchings. The article is published on Wednesdays but, since I subscribe via RSS and I seem to always be behind in my RSS reading, it is often a day or more after publication before I read a specific article. I read this week’s post the morning after my Playhouse visit. In it, the source of the series’ title, “This Disgraceful Evil”, is given. It comes from a 1918 Woodrow Wilson speech in which he calls upon America “…to make an end of this disgraceful evil.”

We don’t have to deal with actual lynchings now as much as in 1918 but there’s still plenty of crap going on. “It cannot live”, Wilson continues, “where the community does not countenance it.”

Originally scheduled to end today, April 3, To Kill a Mockingbird‘s run a Playhouse in the Park has been extended through April 9.

Book Review
A Matter of Time
Ellen Klinkel & Nick Gerlich

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There’s not much point in counting the number of books published about Route 66; The likelihood that the count would increase before you were done is just too great. An Amazon search simply says “over 2,000”. So why review this one? What sets it apart from the others? The most obvious reason for reviewing it is a simple one: I know one of the people whose name is on the cover. The things that set it apart are not as obvious (or benignly biased). In fact, I’ve only found one thing about the book that I think is actually unique, and I’m not really sure about that. The book has no author; It has a narrator.

Nick Gerlich’s role choice is significant. This is a photobook. Its reason for being lies in Ellen Klinkel’s photographs. They could exist without any accompanying words at all and still tell a story. That certainly doesn’t mean that Gerlich’s words aren’t welcome and useful. It’s simply an observation that the words are narrating a story — really just one of many — present in the pictures. Gerlich, whose day job is as a college marketing professor, is extremely knowledgable on Route 66. In the past, he has filled the role of narrator, in the more traditional sense, for KC Keefer’s series of Unoccupied Route 66 videos. Regardless of whether he is narrating on screen or in print, he writes and researches his own scripts.

The photos are black and white, which is unusual but not unique. What may be unique is how they came to be at all. Klinkel tells that story in the book’s preface. It begins in 2013. She lives in Germany and was in the western U.S. with her husband for a four-week vacation which she describes as “the first time I ever had a serious camera in my hands”. Planned visits to several national parks fell victim to the sixteen-day government shutdown in October of that year and driving a portion of Route 66 was substituted. Klinkel credits this very first time on the historic highway coupled with the “serious camera” as having “instantly sparked my passion for photography”.

No pictures from that 2013 trip made it into A Matter of Time. All photos in the book were taken between 2015 and 2017. Klinkel refers to the images as “fine art photography”. It is a phrase I tend to associate with wall mounted prints or coffee-table-sized books with extra thick pages, but that’s wrong. A piece of the definition of fine art photography is something “in line with the vision of the photographer as artist”, and that fits the images in A Matter of Time very well. They are not artsy in an abstract pattern of shadows way, but in a way that works to capture a “vision of the photographer” and encourages the viewer to mentally reproduce that vision.

Most, but far from all, of the photos are of places I recognize from my own travels on Sixty-Six, and some of those nearly reproduce visions I’ve had myself. There are plenty of pictures of places I do not recognize. Sometimes that’s because they are from a location where I’ve never stopped or maybe even passed, but sometimes it’s because Klinkel sees and shares a vision that never occurred to me even though I’ve stood at or near the very spot she did. I don’t mean to imply that I expected anything else. It’s great to be shown something you’ve never seen, but it can be even better to be shown something known in a new way. Although it is a place I instantly recognized, a favorite example of being shown something in a new way is the early morning shot of the Bagdad Cafe with the coming sun just a tiny but significant twinkle. Another is the low-level shot of a protective wall of tires at a long-abandoned gas station at Texas Exit 0 of I-40.

I confess to initially not understanding the meaning of the word “time” in the title. I guess my first thought was of the elapsed time covered by the popular technique of using old and new images in “then and now” pairings. There is none of that here where no photo is more than five years old. Despite having read Klinkel’s preface, I early on settled on the time element being Gerlich’s words that placed the images in their proper time in history. Those words are certainly important. The often detailed and always accurate telling of how the subject of a picture came to be and where it is located provides both education and mooring.

However, something clicked on a rereading of that preface that hadn’t quite registered on the first pass. Klinkel explains the title quite clearly:

It is a matter of time in a historic and photographic sense; a mattter of being in time before a location fades away; a matter of being in time to capture the sunrise or sunset; a matter of having enough time and patience to wait for the right light and moment.

The historic sense is fairly common. Capturing things fading but not yet completely faded is something that many photographs do. The photographic sense is less so. Being in time and having enough time is not unique but it’s not all that common and it sure is refreshing. And it explains the impressive percentage and variety of truly interesting skies in A Matter of Time.

A Matter of Time: Route 66 through the Lens of Change, Ellen Klinkel and Nick Gerlich, University of Oklahoma Press, October 10, 2019, 10 x 8 inches, 272 pages, ISBN 978-0806164007
Available through Amazon.

Book Review
Headley Inn and Cliff Rock House
Cyndie L. Gerken

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Cyndie Gerken’s third big helping of National Road knowledge was served up a bit more than a year ago, and I have no good excuse, or even enough bad ones, to account for waiting so long to take a look. Of course, once I did, the same accuracy and thoroughness that marked her earlier books were instantly apparent in this one. In 2015, she documented Ohio’s National Road mile markers with Marking the Miles Along the National Road Through Ohio.  In 2018, Taking the Tolls Along the National Road Through Ohio told of the toll gates that operated after the federal government rid itself of the highway by giving it to the states through which it passed. Both books took a deep and wide look at their subjects although that phrase did not occur to me until I was well into the current volume.

Those other books were geographically wide because they involved the whole state of Ohio, and they were also wide in the variety of information they included on their subjects. Depth came from the layers of time and degree of detail covered. Headley… isn’t nearly as wide geographically (The two buildings in the title are barely 300 feet apart.), but it does include the passing road and nearby towns, and the information variety is every bit as wide as in the first two offerings. The detail component of depth is at least equal to that of the earlier books and the time component is considerably greater. The period covered by all three begins at roughly the same time but the story of the two inns has yet to end.

Physically the latest book is much like the others. All are largish paperbacks printed in color. All include a brief overview of the history of the National Road that provides context for the rest of the book. Headley…‘s introduction also includes information on the surrounding area and the role of early roadside inns and taverns.

Both of the book’s subjects appeared almost immediately after the National Road passed by the land they would occupy. The first section of the Cliff Rock House was completed in 1830 and the Headley Inn’s first section in 1833. Other dates have appeared in articles and even on signs but Gerken sorts through the various claims and presents a solid case for these dates. Both structures have been enlarged and modified over the years. Despite their nearness to each other, the inns were constructed and operated independently by two separate families. That has not always been the case although it is again today.

It is generally thought that the Headley Inn initially served as a stagecoach stop while the larger Cliff Rock House catered more to drovers herding sheep and other animals to market. That sort of division was never iron clad, of course, but that kind of thinking does serve to justify the two businesses being so close.

The two periods of glory experienced by the two taverns naturally coincide with the glory days of the passing road. They prospered in the early eighteenth century doing what they were constructed for: serving travelers on the new National Road. Gerken digs deep into public records and family histories to tell the story of this period. Prosperity ended with the coming of the railroad.

Prosperity returned in the early part of the next century when traffic returned to the road out front. This time the customers were carried by automobiles. Alexander Smith, who had built the Cliff Rock House, added the Headley Inn to his holdings in 1857. In 1922, two of his granddaughters opened a restaurant and tearoom in the former stagecoach stop. The old National Road had become part of the National Old Trails Road. Its traffic, and the sisters’ culinary skills, made the tea room a nationally known success. Like they did elsewhere, the interstates of the last half of the twentieth century pulled traffic from the old road and might have ended this second round of glory if the sisters had not already ended it by retiring and closing the restaurant in 1961.

Gerken also uses public records to tell of the tearoom period but they form a much smaller part of the story. There is considerable family documentation available, including photographs, and, more significantly, she has access to quite a bit of living memory of the era. The most important source of that living memory is the son of one of those sisters, Alexander Smith Howard. He not only shared stories that appear throughout the book, he also wrote its foreword.

Living memory provides even more input to the post-tearoom era and here the living memory is sometimes Gerken’s own although it is more often her personal interviews with the short series of owners. The book is heavily illustrated with historical photos, maps, diagrams, newspaper clippings, and more. Modern photos include many taken by the author herself.

For the third time, an era of glory early in a new century is a definite possibility. Major restoration of the Headley Inn was accomplished by Stephen and Bernadine Brown during their 1989 to 2006 ownership. It continued under Alan and Patricia Chaffee until 2015. The current owners, Brian and Carrie Adams, along with their daughter Ashley, have added their own historically sensitive improvements and now operate a bed and breakfast with facilities for weddings and other gatherings. In 2018, Cliff Rock House was purchased by Otto and Sally Luburgh and restoration work is now underway there.

I know that this book’s true value lies in its collection of facts, photos, and carefully researched history. It is unequaled in that regard. Much of its readability, however, comes from the stories that fill the background and cluster around the edges. From the story of the Headly Inn’s original owner verbally abusing federal troops early in the Civil War, and tales of tearoom employees drawing straws to determine who had to brave snakes in the attic to retrieve supplies, to reports of elephants appearing — both expected and not — in front of the inn, there are plenty of human interest style anecdotes to balance the solid and valuable historical facts.

Headley Inn and Cliff Rock House: A Storied History of Two Taverns Along Ohio’s National Road, Cyndie L. Gerken, Independently published, March 20, 2019, 11 x 8.5 inches, 378 pages, ISBN 978-1790228089
Available through Amazon.

Book Review
Overground Railroad
Candacy Taylor

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“This is not a book about the history of road-tripping and black travel”, is the first sentence of the last paragraph of the introduction. That’s something I knew long before I read it. It was something Candacy Taylor said early in the presentation I attended in Indianapolis back in February. It may even have been something she said during another presentation of hers I attended back in 2016. I discovered Taylor the same way she discovered the Green Book. Well, not exactly the same way. She learned of the Green Book while doing research for a Moon Travel Guide on Route 66. I learned of Candacy Taylor as a mere attendee at a conference on the historic road. Research for the book was well underway when Taylor spoke at that conference in Los Angeles but Overground Railroad: The Green Book and the Roots of Black Travel in America was still a concept. It was a reality when she spoke in Indianapolis, and that’s where I acquired my copy.

Another phrase that caught my ear at the Indianapolis presentation and which I subsequently read in the book is this: “I wasn’t interested in presenting the Green Book as a historic time capsule.” Maybe the reason I noticed the phrase was that, without actually being aware of it, that is exactly how I saw the Green Book. The book, published between 1936 to 1967, identified businesses where Negro travelers were welcome. A too often true assumption was that they were not welcome in any place not listed. The Civil Rights Act of 1964 did not make racial discrimination disappear, but it did make it illegal. By the time I became aware of the book, it had not been published for decades and I figured it had been more or less the same throughout the time it was published. In my mind, the Green Book essentially was a historic time capsule.

The book was no doubt historic, but it was not a sealed capsule. If pressed, I would have known that the book must have grown over the years and that listings and advertisers would have come and gone. Taylor meant much more than that. There were changes in the book’s overall tone that were related to changes in society and vice versa. She uses changes in the Green Book as a timeline to frame changes in the world at large. It isn’t a hard link and the two certainly don’t move in lockstep. Societal changes just aren’t that tidy. But the editions of Victor Green’s book pace the chapters in Taylor’s.

One of the bigger Green Book changes Taylor covers occurred with its return at the end of the Second World War. The guide was not published during the war, and when it returned in 1946 it was bigger and better than ever. Not only was the book enlarged, its tone was changed a bit, too. Serious articles about the situation of blacks in American society appeared along with information, such as a listing of black colleges, not exactly associated with travel. In a chapter based on the 1946 and ’47 editions, Taylor says, “This comprehensive list of colleges elevated the Green Book from a travel guide to a political weapon.”

Another big step came in 1952 when the guide’s name was changed from the Negro Motorist Green Book to the Negro Travelers Green Book. Train travel by blacks had already been included starting in 1950. Travel by airplane and other means would be covered in the future.

In a chapter linked to the 1957 and ’58 editions, Taylor addresses what is almost certainly a big reason she felt the need to stress that, “This is not a book about the history of road-tripping.” The chapter is titled “The Roots of Route 66”, and she uses Route 66 examples to explain why blacks have virtually no nostalgia for the classic American road trip, but the story is essentially the same for every other highway, too. While it’s very much an understatement, the following line does sort of sum up the chapter: “[T]he experience of driving Route 66 was not the same for everyone.”

Overground Railroad is heavily illustrated. Taylor’s research for this project included cataloging and visiting businesses listed in the Green Book, and several of her photographs of sites that remain appear throughout the book. She also includes some personal photos. Numerous historic photos along with reproductions from the Green Book accompany the text. A section in the back of the book lists surviving “Green Book sites” and includes Taylor’s photos of many. It is followed by a section with reproductions of every known Green Book cover other than the very first edition of 1936.

Victor Green hoped that “There will be a day sometime in the near future when this guide will not have to be published.” That day came, technically, when the 1964 Civil Rights Act became law. There was just one more Green Book published before it shut down permanently. But reality has never quite matched the technical equality of the Civil Rights Act. The first chapter of Taylor’s book, in which she discusses the risks and difficulties of Negroes driving during the early years of the Green Book, is titled “Driving While Black”. It’s a title that could have come from yesterday’s newspaper. Maybe it did. In her introduction, Taylor asks the standard road trip question, “Are we there yet?” then answers with a whole book that tells of progress but ends up with a solid “No.” It is not, however, a hopeless “No”. The “Author’s Note” near the book’s end talks of the challenge and is followed by a “What We Can Do” list.

Overground Railroad: The Green Book and the Roots of Black Travel in America, Candacy Taylor, Harry N. Abrams, January 7, 2020, 9.8 x 7 inches, 360 pages, ISBN 978-1419738173
Available through Amazon.

Book Review
The Other Trail of Tears
Mary Stockwell

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I read this book by accident and belatedly. The accident comes from a spontaneous purchase. The belated reading comes from me not realizing how good it is. I picked the book up back in June of 2018 when I went to hear Mary Stockwell talk on her just-published Unlikely General about my childhood hero, Anthony Wayne. I knew nothing about Stockwell or any other books she had written but bought a copy of The Other Trail of Tears because it sounded kind of interesting and, perhaps more importantly, I was there. Unlikely General worked its way through the stack in a fairly timely manner; It was read and reviewed by November 2018. I let other books move ahead of this one and even loaned it, along with Unlikely General, to a friend to read. When I eventually did start reading The Other Trail of Tears, I quickly put it aside to accommodate two new road-related books. The second attempt went much better and I quickly regretted not diving in sooner. As is too often the case, my preconceptions were wrong. This is another book that was much more than I expected.

Like most people, I am fairly familiar with the forced removal of Native Americans from the southern United States that caused inconceivable suffering and thousands of deaths during the trek west known as The Trail of Tears. Those were the most horrific of the relocations resulting from the Indian Removal Act of 1830 but there were others.

Several reservations once existed in northern Ohio occupied by Shawnee, Wyandot, Seneca, and others. As an Ohioan, I was somewhat aware of these reservations and even knew a little bit about the forced removal of these people. I assumed that Stockwell’s book was filled with details of that removal. Perhaps that assumption and the accompanying assumption that those details would be terribly depressing contributed to my delay in actually reading the book.

My assumptions were not wrong but neither were they complete. The stories of the actual treks to the west are properly told and they are indeed depressing. But they do not fill the book. More pages are used telling of what preceded the removals than on the actual journeys. Stockwell’s coverage of the treaties and trades that resulted in the removal and the people and policies involved is rather detailed and seems complete. There is a lot of history here that I was quite ignorant of.

Though extremely educational, the pre-removal history is also somewhat depressing, and the whole book can fuel that sense of guilt we descendants of European Americans often feel when contemplating the last few centuries of Native American history.

Stockwell doesn’t stoke the guilt or overly stress the sadder aspects of the treks. Although she doesn’t completely hide her sense that Native Americans got a really raw deal, for the most part she sticks to accurately reporting the facts about an undeniably sad period in U.S. history.

The Other Trail of Tears: The Removal of the Ohio Indians, Mary Stockwell, Westholme Publishing, March 18, 2016, 9 x 6 inches, 300 pages, ISBN 978-1594162589
Available through Amazon.

Book Review
After Ike
Michael S. Owen

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There are things that fans of old roads or of transportation history in general falsely assume that everyone knows about. One such item is the continent crossing Motor Transport Corps convoy of 1919. In the summer following the end of the first World War, a group of military personnel and vehicles set off from Washington, DC, to test the nation’s roads all the way to San Francisco. Although he was primarily an observer on the trip, his future accomplishments make Dwight Eisenhower the member of the convoy best-known today. Michael Owen uses the future president’s nickname in naming this telling of his own retracing of the 3,250-mile-long path that some 300 men and 81 vehicles of all shapes and sizes followed a century ago.

As one might expect, Owen mixes lots of information about the military convoy’s trip with the description of his own journey. Much less expected is the fact that he is not one of those long-time fans of old roads or transportation history that I mentioned earlier. As a US Ambassador, he spent considerable time in Africa and Asia. Now retired, he is happily becoming better acquainted with the roads and attractions of his homeland.

On his coast to coast drive, Owen is part researching author and part curious tourist. He often spends multiple days in one place and digs into local history and points of interest. Some of what he finds relates to the convoy and some is simply interesting on its own. A sampling includes a stop at Carnegie-Mellon to talk with a professor about autonomous vehicles and a visit to the Pro Football Hall of Fame which provides an opportunity to talk about Ike’s time as running back at West Point. He visits several museums including the Studebaker museum in South Bend, IN, and the El Dorado County Historical Museum in Placerville, CA. He spends time in small libraries and chatting with locals.

Much of the convoy related information Owen shares comes from journals and official reports written by the participants but local newspaper archives are also used extensively. The motorized convoy was a major event in those early days of the automobile and much attention was focused on its progress. Communities along the route often vied with each other to host the convoy and the dinners, dances, and demonstrations were documented by the local press. More or less typical is the South Bend [Indiana] News-Times report of the convoy’s arrival and departure that included the observation that “…lemonade was given to them in abundance by the Chamber of Commerce.” In Austin, NV, the Reese River Reveille reported that officials “…placed shower baths in the four cells of the jail…” for use by the soldiers.

Some non-convoy related items Owen finds in those old newspapers are used to provide a peek at the world of 1919. A headline from that South Bend News-Times issue reads “Seven Women Take Aeroplane Rides!” From the DeKalb [Illinois] Daily Chronicle, he quotes an article about the convoy’s “3,000,000 candle power searchlight” followed by quotes from an advertisement for the latest Thor Electric Washing Machine. In writing about his modern-day travels, Owen uses signs he sees in a manner similar to the way he uses those period newspaper items. It’s kind of like having a passenger who reads signs aloud; Signs like “Farm fresh eggs! Laid by Happy Chickens”, “Food! Liquor! Wine! Beauty Products!”, and “Gardening for God Brings Peas of Mind”.

Eighteen pages of black and white photos are placed just past the book midpoint. All were taken by the author. Readers familiar with the Lincoln Highway and the modern Lincoln Highway Association will find some familiar places and faces.

The book cover bio says Owen has “driven over the Lincoln Highway several times” but he doesn’t come across as a seasoned road tripper. On one hand, that brings some freshness to the writing. Things like reading aloud signs about eggs bring a sense of sharing the surprises to the reporting. On the other, it may be responsible for allowing a few minor errors to slip in. Early in the book, Owen notes his awareness of “America’s penchant for superlatives: biggest, oldest, first, fastest, best.” He does not list “only” and does pass along a couple of not quite true “only” claims. Qualifying it with the word “purportedly”, he writes that the bust of Lincoln at Wyoming’s Sherman Hill is “…the only statue of Lincoln on the entire Lincoln Highway” and says that the rotary jail in Council Bluffs, IA, “…is the only one of its kind in the US”. Regarding Lincoln statues on the LH, those in Jefferson, IA, and Fremont, NE, come immediately to mind. As for rotating “squirrel cage” jails, the one in Crawfordsville, IN, is not only standing but operational. These errors, and a few others, are not terribly significant but I couldn’t just ignore them.

After Ike is an enjoyable read that delivers an overview of an important event in US transportation history along with a sense of what a modern-day long and leisurely road trip is like. Owen’s fresh eyes and all those signs make it a bit unlike many travelogues.

After Ike: On the Trail of the Century-Old Journey that Changed America, Michael S. Owen, Dog Ear Publishing, LLC, July 22, 2019, 9 x 6 inches, 224 pages, ISBN 978-1457570421
Available through Amazon.

Book Review
Route 36 Ohio to Colorado
Allan McAllister Ferguson

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US-36 is kind of special to me. It is one of just a handful of US highways with an endpoint in my home state and one of just two that pass through my birth county. It’s even more special to Allan Ferguson. He grew up near the route in Illinois, has ancestral connections to the eastern end in Ohio, and currently lives near its western end in Colorado. It has had a role in much of his life from childhood vacations and visits to relatives to business trips and drives between old and new homes as an adult. Not all of his travels between Colorado and Illinois have been on Route 36. Not surprisingly, his early trips back home were on expressways. At some point, he tried US-36 and came to realize three things. The first was that it took no more time than driving the interstates. Between Denver and central Illinois, the US-36 is quite straight and about 100 miles shorter than either I-70 or I-80. Secondly, it was relaxing rather than stressful. The third thing he realized was that the drive was actually interesting and that realization eventually led to this book.

Ferguson stresses that this is “a book about today’s Route 36″ (italics his). He delivers plenty of history and even describes a few older alignments, but the subject of this book is the Route 36 shown on current maps and marked by modern signs. That means there are no turn-by-turn directions that fans of historic routes such as the Lincoln Highway or Route 66 might expect in a guide to a road. And there is another possible expectation that Ferguson intentionally does not meet. There are no lists of restaurants or places to stay. This sort of information is, he points out, ever-changing and available elsewhere.

Today’s US-36 runs through six states in connecting Uhrlichville, Ohio, with Estes Park, Colorado. There is a chapter for each of those states. Following an overview, which provides some history, geography, and geology, a drive through the state is described. Both the chapters and the drives are sequenced east-to-west. The basic organization is by town. Each town entry begins with some common items such as population and a website address. Museums, parks, and libraries are also listed where they exist. Descriptions of various well-researched points of interest, often with photographs, follow.

I know that all sounds rather formulaic, which it probably is, and maybe dry and boring, which it decidedly is not. Good writing makes for easy reading and the quality of Ferguson’s writing makes even this fact-heavy subject matter go down smoothly. In particular, I found the state overviews a very pleasant way to be informed.

A Section II, titled “Background,” follows the guide. A very well-done history of land transportation across the United States, its two chapters divide the story more or less at the appearance of the automobile. This history is not specific to US-36 and reading it is not at all necessary for enjoying a drive along the route. Depending on your own background, it can be a very nice introduction or a very nice review.

Naturally, many of the place names in the guide were familiar to me and I was pleasantly surprised to see a familiar “people name” in there, too. Road fan Jim Grey has documented a number of roads at JimGrey.net. Of course, Ferguson’s interest and recommendation was aimed at Jim’s photo-rich report on US-36 between Indianapolis and the Illinois border. I’ll second Ferguson’s recommendation and add that Jim’s reports on several other old roads — and lots of old cameras — are also worthwhile.

Some of those familiar place names come from the fact that I’ve driven certain bits of Thirty-Six hundreds of times. I have, however, driven the whole thing only once. This book’s east to west order matched the direction of my single full-length pass which made it easy to compare the book with my own memories and journal. I’m glad it wasn’t a competition. I documented very little that Ferguson didn’t, while he identified many points of interest that I missed entirely. I’ll do better next time.

The book has its own website at US36GuideBook.

Route 36: Ohio to Colorado – America’s Heartland Highway, Allan McAllister Ferguson, WFPublishing, August 1, 2019, 10 x 8 inches, 264 pages, ISBN 978-0971032668
Available through Amazon.

Book Review
Tales… from the Dickens Scenes!
The Rainy Day Writers

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This book is unusual and unusually good. The Dickens Scenes of the title are those in Cambridge, Ohio, that starred in this blog’s most recent regular weekly post. There are currently 94 of those scenes and each began life as a sketch by a fellow named Bob Ley. Bob is one of a group of writers, known as The Rainy Day Writers, who help each other practice and improve their craft and occasionally collaborate on projects. Ten of them contributed to Tales… from the Dickens Scenes.

The book’s organization is simple. Each of the scenes is the subject of a two page spread. On the left-hand page is a black and white photo of the scene along with the Bob Ley sketch on which it is based. Text that appears on a sign placed by the scene completes the page. Each sign contains an identifying number and the scenes appear in the book sequenced by those numbers.

The individual photos are not credited but acknowledgments at the front of the book identify Tom Davey and Lindy Thaxton as the photographers. The photos are all quite good and do a nice job of capturing each scene from its best vantage point. Together, the book’s even-numbered (i.e., lefthand) pages make up the sort of catalog often prepared for a museum display. The village really is such a display with the sidewalks of Cambridge forming the museum.

Filling the righthand pages is handled with skill and creativity by The Rainy Day Writers. The text on each page was created for the scene it is associated with. There are works of fiction that imagine a day or a minute in the lives of the figures in the scene, and there are factual essays with subjects such as Victorian England, modern Cambridge, or Charles Dickens himself. Some are thought-provoking, some are educational, many are both. Simply noting the great difference between life in the late nineteenth century and today is thought-provoking and educational.

I’m sure that tailoring a story or an essay to a single page was often a challenge for the writer, but their small size helps make reading them about as non-challenging as it gets. Reading the odd-numbered pages in an easy chair makes sense and so does having the even-numbered pages at hand while walking around downtown Cambridge during the Christmas season. The book is available online but I suggest getting it at the source if possible. At least “while supplies last”, copies sold at the Dickens Victorian Village Welcome Center (647 Wheeling Avenue) have been signed by all ten of the contributing writers plus you can put the book to work as soon as you step through the door.

The first paragraph of this article contains a link to The Rainy Day Writers website. The site contains quite a bit of good information but appears to be less current than the group’s Facebook page.

Tales… from the Dickens Scenes!, The Rainy Day Writers, Independently published, September 21, 2019, 6 x 9 inches, 198 pages, ISBN 978-1691098804
Available through Amazon.

Book Review
A Mythic Obsession
Tom Kupsh

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Sometimes I astound my friends with my knowledge, admittedly quite useless, of unusual and obscure roadside attractions. Othertimes I astound myself with my complete ignorance of a major and fairly well-known piece of public art. A stop on a recent Society for Commercial Archeology bus tour was an occasion of the latter sort. I imagine readers of this review will have thoughts that are similarly divided. Some will wonder just what is that pile of junk and why would anyone put it on the cover of a book. Others will smile with instant and delighted recognition. Ah yes, the Forevertron.

From one perspective, the Forevertron is a 65-foot tall sculpture made of various bits of scrap metal. From another, it is a fantastic device waiting to propel Dr. Evermor “up to the celestial spheres.”  From a third, it is a marvelous project that helped Tom Every deal with the real world. Tom Kupsh covers all three of these perspectives in A Mythic Obsession.

The book contains something of a Tom Every biography. It describes his early attraction to unwanted stuff and what seems to be a natural talent for getting some good out of what other people throw away. It tells about his ups and downs in salvage and professional scavenging and his long-time involvement with Alex Jordan and his House on the Rock. His relationship with Eleanor Gryttenholm, a.k.a., Lady Eleanor, that continues today, having survived both marriage and divorce, is in there too. It’s a life that Kupsh describes as rocky but never dull.

It is Every’s artwork, however, that attracts all the attention and warrants a book. Much of it is big, like the Forevertron, but he has also produced some rather small pieces. The common attributes are whimsey, creativity, and scrap metal. Kupsh describes most if not all of Every’s major works. His descriptions usually include information about when and how the piece was made and sometimes even why. He often tells what the components actually are and where they came from. This is very much the case with the Forevertron and that is something I very much appreciated. The book and the sculptures are a natural pair. At times, while reading the book, I found myself wishing I had read it before visiting the collection so I would have been aware of various details about what I was seeing. On the other hand, I’m kind of glad I had my first look with few preconceptions. I’m thinking that neither sequence is wrong and that whether you start with reading or visiting, you’re going to have to repeat. Seeing the sculptures will raise questions that only the book will answer and the book will fuel curiosity that only a visit will satisfy. I intend to return with book in hand.

The biographical bits are aided by several pictures and there are pictures included of the various pieces of art described. Most are black and white but there is a section of really nice color photos that includes an annotated view of the Forevertron. You can bet on me having that page bookmarked when I next head to Wisconsin.

A Mythic Obsession, Tom Kupsh, Chicago Review Press, June 1, 2008, 6 x 9 inches, 196 pages, ISBN 978-1556527609
Available through Amazon.

I purchased my book onsite from Lady Eleanor. Tom is in a nursing home and rarely gets to the Forevertron these days. Both had inscribed the copies available about nine months previous. I selected one with a fairly lengthy message from Tom even though that message wasn’t quite clear to me at the time. I figured it would become readable when I was sitting still in good lighting. It hasn’t. Among the few phrases I can make out are “80 years” (His 80th birthday was five days earlier.), “I can’t see”, “don’t stop your art”, and “The House on the Rock”. All help from those with better eyesight or insight is appreciated.

Book Review
Historic US Route 20
Bryan Farr

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This book didn’t put US-20 on my to‑drive list, that happened long ago, but it did move it up quite a bit. At 3365 miles, Route 20 is currently the longest of the U.S. Numbered Highways so it’s quite naturally a road I’ve thought about driving. I have driven bits of it, of course, and crossed over it many times. It would be pretty hard to completely avoid a road that crosses the entire country as this one does. In Historic US Route 20: A Journey Across America’s Longest Highway, Bryan Farr documents an east to west drive over the entire length of the highway and the entire breadth of the nation with a couple hundred great color photos. There is something I’d like to see in just about every one of those photos.

A chapter on each of the twelve states crossed by US-20 follows an introduction and a brief history of the highway. Each chapter’s opening page contains a small map and some statistics such as length and highest and lowest elevation. A few pictures also appear on those opening pages but the best pictures form the chapter’s body. Many get a page all to themselves and few pages contain more than two. That means they are generally big enough to appreciate and the good print quality also helps.

Some images are of noted man made landmarks, such as the Wayside Inn in Sudbury, Massachusetts, and the Veterans Memorial Bridge in Cleveland, Ohio. Others capture the natural beauty of places like the Driftless Area near Elizabeth, Illinois, and Yellowstone Lake. Together they show off the wide range of experiences available along the highway as well as Farr’s photographic skills.

Although it’s certainly not overdone, the book is not without text. There is that one-page introduction and two-page history that open the book and virtually every picture gets some sort of description. Some get a one-line caption while others get a paragraph or two. Most descriptions that go beyond a sentence provide some history about the subject and all are interesting. There are essentially no travel directions. This is not a travel guide. It is a photographic trip journal and a very attractive one. Even without directions, it will certainly be an aid in planning my own trip. As I said, just about every one of those photos contains something I’d like to see and something likely included in any itinerary. Plus, just flipping through it randomly keeps my desire to drive “America’s Longest Highway” at least on simmer.

A Kindle version of the book is available through the Amazon link at the end of this article. New paperback copies are available directly from the publisher at Historic US Route 20.

Historic US Route 20, Bryan Farr, The Historic US Route 20 Association, Inc., February 16, 2015, 8.5 x 11 inches, 166 pages, ISBN 978-1628476880
Available through Amazon.