Howard Miller Steelhead Park Dedication
SKAGIT COUNTY – The Skagit County Parks Department and the U.S. Forest Service have partnered in creating an informational visitor kiosk at Howard Miller Steelhead Park. The kiosk will be dedicated on September 23, 2011 at 2:30 p.m. just east of the Boat Launch at the park. The kiosk honors Howard Miller, a lifelong resident of Skagit County who was committed to public service and enjoyed fishing and the outdoors. Howard Miller served four consecutive terms as county commissioner. During his tenure, Howard was instrumental in the purchase of the first 39 acres of the park’s land. The park has since expanded to greater than 100 acres. The dedication also honors other park proponents, including the Porter, Kerr, and Harris families.
One of the three panels on the new kiosk will serve as a way to commemorate the future friends of Howard Miller Steelhead Park. Each year, a friend of the park will be honored based on his or her dedication and commitment to the betterment of the scenic river and/or park. There are also signs describing the history of the ferry, cabin, and canoe. The Howard Miller family provided photos and stories that assisted in the development of his commemorative panel. The late Jim Harris, local historian and former interpreter for the National Park Service, provided the background and photos for the three historical panels. We are grateful to all who contributed to these great additions to one of our counties' premier parks.
The public is invited to join the Skagit County Parks Department and the U.S. Forest Service in the dedication of the kiosk to help in honoring the important people who help maintain the park.
After the ribbon cutting at the kiosk, visitors will be taken to the new camping cabin recently constructed at the park. This is the first of four cabins the Parks Departments hopes to erect in the next two years. The cabins will allow people to visit the park and stay in relative comfort without the need of towing a heavy trailer.
For more information, contact Skagit County Parks and Recreation Director Brian Adams at briana@co.skagit.wa.us or at (360) 336-9415.
Brian Adams, Director
Skagit County Parks, Recreation, and Fair
315 South Third Street
Mount Vernon, WA
(360) 336-9414
Exciting news: "Sarabande" will be published in CLOVER, Vol. 2 (Bellingham, WA: Independent Writers Studio) on Sept. 25.
During the past several years, I wrote a poem about Seville, Spain, one word at a time. I called it Sarabande for a street dance I first saw there. Last winter, I entered it in the open competition for Phrasings 5, the 2011 Chuckanut Sandstone Writers Theater and Bellingham Repertory Dance Company collaboration of writers and dancers, not expecting it to be considered.
I was overwhelmed when I was asked to read it at the April 1 performance.
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Poems to be read:
Bug Music by Joe Mackey of Bellingham
Collection by Jim Milstead of Bellingham
Just Sail by Heather Bennett of Everett
Sarabande by Richard Lee "Dick" Harris of Bellingham
Snail Buddha by Jim Bertolino of Bellingham
3 Visions/Vancouver Island by Rick Hermann of Bellingham
Watching my grandson by Cathy Ross of Seattle
Woman in a Red Dress by Bethany Reid of Edmonds
Choreography Category:
Housekeeper by Shannon Laws who lives in Bellingham and choreographed by Vanessa Daines
Reunion and back again by Scott Stodola who lives in Bellingham and choreographed by Diane WIlliams
Beachcombing by Katelyn Hales who lives in Brooklyn, NY and choreographed by Ella Mahler
World Cup by Susan M. Schultz who lives in Hawaii and choreographed by Erika Olson choreographer
From Wire Fetters by Katelyn Hales, who lives in Brooklyn, NY and choreographed by Angela Kiser
The Visitors by Cathy Ross who lives in Seattle, WA and choreographed by Sarah Schermer
Taproot by Carla Shafer who lives in Bellingham and choreographed by Fiona Evans Sarabande The sun rises in Seville, echoes Lorca’s daybreak, dances in orange parterres, glints Faith’s smile into barrio shadows, the sultan’s chair, and filigreed portico. Little bees collect honey on bitter orange petals, drizzle golden dew on Andalusían tortes, and bittersweet preserves on breakfast toast of Oxford dons. I look away and rest my eyes on gold, ochre, and snowy white. Carmen pirouettes from the “telly.” Her sensuous notes infuse me with “Love is a bird,” bitter oranges are sweet when the tune is played upon a blue guitar. Seville, Spain 2000
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To learn about the times, dates, and location of Phrase 5 performances and where to buy tickets, go to Bellingham Repertory Dance Company, www.bhamrep.org.
For those lost at sea, March 11, 2011
The earth faults harbor waves
destroys shoreline civility,
sucks shrouds of vitality
into tumultuous brine
of fury and devastation.
Mundane torments are shadows,
sufferings of the heart
vanish into nothingness,
where the sun does not gaze
nor the moon reflect.
When pacific waves break,
these tragic spirits rise
as jewels glinting their crest.
Sendai, Japan
2011
Tsunami translates as “harbor waves” in Japanese.
Our cruise ship was about 250 miles east of Hilo, HI, headed for the mainland, when the tsunami generated by the earthquake that struck Japan, March 11, 2011, passed under us. The only noticeable effect was an increase in wave height from “slight” to “moderate” with a slight pitching motion for a brief period of time.
June 6, 1994. It's almost 10:00 a.m. I'm having my morning coffee in La Patisserie, a little French and Vietnamese bakery-restaurant about four blocks from home. I'm the only customer, typical for this time on Monday morning.
It is quiet at the intersection of Lynn and Northwest. One or two cars pass through every other light change. Three are wandering around the boats in front of Yeager's Sporting Goods across the street, waiting for the doors to open.
Although the street is dry, I drove my '76 Chevy pickup instead of riding my bicycle. Those storm clouds boiling up in the southwest are threatening.
Phan, always polite, always ready to smile, just handed me a freshly baked raspberry cream cheese Danish. As is her habit, she waited for her first customer before turning on the coffeemaker. We exchange a few remarks about the weather and this being Monday morning. I hand her two dollars. She gives me thirty cents change and continues spraying the glass tabletops with Windex© and wiping them with crumpled pages from yesterday's newspaper.
I place my Danish on Table #6, "my spot" near the window, and go to the service counter for a spoon, fork, napkin, and a couple creamers. By now, the coffee is ready. I pour a cup.
There’s nothing visible on the street noting the significance of this day, a pensive one for me.
My thoughts have skipped between this day, fifty years ago, and the televised commemorations held on the Normandy beaches in France, 4800 miles away. My reverie is deepened by the subdued and plaintive background music coming over the speakers: "I'll Walk Alone,” "Till Then,” "When the Boys Come Home," interspersed with Glen Miller and Duke Ellington renditions.
I flash back to that morning on June 6, 1944. I’m ten years old. School had been out less than a week. I’m sitting in the cab of Dad’s 1927 Chevy flatbed truck on the ferry, crossing the Skagit River. We are on our way to Grant Nelles’ blacksmith shop, west of Concrete.
I didn’t expect to cross the river until the middle of the month. Normally, I’d be in a hayfield walking along the newly mown swathes, shaking loose the heavy bunches of green hay with a three-tine pitch fork so they could dry more quickly. The mower broke down before Dad could start cutting.
Dad said he’d take us to the Strawberry Festival and to see Grandma Harris in Burlington, if the hay is shocked, if he can get our 1930 Reo Flying Cloud to run, if he has any leftover gasoline ration stamps, and if the river isn't flooding. He’d have to draw some money from the Mitchell Brothers, the "gypo" loggers for whom he was working. That is, if they’d been paid for their latest shipment of logs. (Smalltime loggers were probably called “gypos” because they moved from site to site, frequently logging areas too small to be worthwhile for larger companies.)
When I asked Dad if I could go, I was surprised that he said, “Get in.” Loretta and Jim knew better than to ask. They’re too young and Dad would be busy helping the blacksmith and swapping stories with others waiting to repair busted-down equipment. Besides, Mom didn’t want them running around the hot forges with their flying sparks and getting in the way.
Dad always repaired our farm equipment himself. He would rummage through the pile of parts and pieces in "the old milk house" or scavenger from some derelict machine rusting in the blackberry vines and nettles in the back of one the neighbors' fields until he found what he needed. If the part were wooden, he would carve a new one from a vine maple sapling he’d cut from the brush growing behind the barn. This time, he couldn't find a part to fit the old relic of a mower that had been around since it was freighted up the river in a canoe in the 1880's when the place was homesteaded. His only remedy was to weld the part back together. This meant a trip to the only blacksmith shop upriver.Seldom did the sun shine long enough this early in June to dry the fields enough so Dad can cut, rake, and shock the hay before the next storm soaks it and rot begins.
Not only does he lose haying weather with these breakdowns, he loses a valuable day of unpaid vacation time. Also, each repair usually takes the last money in the house, and burns up precious gasoline.
Frank Tom, the operator, had just dropped the ferry apron at the edge of the river where the road sloped down to the landing on the Rockport side, and Dad is starting the truck engine, when a neighbor literally skipped through the shallow water and onto the ferry. He sticks his head though the hole in the door on Dad's side where the window used to be. "Did ya' hear?” he blurts out. "They landed in France!"
"They did?” Dad responds, as much in surprise as disbelief.
"Yaah! They got those krauts on the run." (Kraut is a derogatory term that everyone I knew called Germans, especially German soldiers.)
"Well, it'll soon be over," Dad says, as he steps on the clutch and slowly shifts into first gear. It is good news, but his mind is on the broken mower and the time he is losing.
I didn't say anything. After all, I was just going into the sixth grade. And, I’m not so sure that the Germans will be quickly defeated. I’d been following war as closely as I could until the battery packs on our radio ran out, a couple weeks ago. Mrs. Baughman, our teacher at Rockport School, had let a couple of us read her newspaper when our lessons were done. Even if the Germans are defeated, the war with the Japanese in the Pacific had to be won.
The engine whines as the old truck creeps off the ferry and inches up the incline, over the railroad tracks, and onto State Route 20 near the Rockport Hotel. It is an hour's drive over Rockport Hill and winding down the valley to the blacksmith shop.
My second cup of coffee is gone. It's time to leave a tip, climb into my old Chevy pickup, and go home. Maybe the rain will hold off long enough to mow some lawn.
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(Here's a couple pages from Upriver Images, my mixed genre memoir. Let me know if the POV works, or has inconsitencies. Please, no 'junk' or pseudo-messages designed to link your website advertising your product. I WILL NOT APPROVE!)
Memorial Day
for Mark Harris, 1893-1918
A cloudless sky,
a day filled with spring,
a day to remember those
who lay in common ground,
Fallen without honor,
unseen by us,
whose flags they bore.
As volleys resound in sharp salute
and banners dip to a trumpet’s call,
it is our day to remember
the plaques that cling to crumbling walls,
and plead as we pass by:
Tell them of us and say,
for your tomorrow,
we gave our today.
Bellingham, WA, 1995


Most recently the “something to read while waiting” for me, has been the monthly issue of Poetry. Carolyn Forché’s article “Reading the Living Archives: The Witness of Literary Art,” particularly the Q & A, in May was most insightful and stimulating. Her exploration of “ . . . we can’t know what the poem means because we can’t know what it will mean later” led me to attempt articulation of the meaning of my own poems. The following is the best I can come up with at the moment:
As a poet, I can only know the meaning of a poem at the time I write it. The next day, it may mean something different; and the next day, different still. Likewise, a poem’s meaning to a reader when he or she first reads it might change each time it is read. Meanings may deepen or dissipate, or simply change. Also, each reader will read into a poem his or her own meaning.
As a poet, my responsibility is to communicate as clearly as possible with the imprecise language that is available to me, so that the essence of a poem’s initial meaning may carry forward, regardless of when or who reads it.I’ve joined a gaggle of poets to celebrate National Poetry Month at Village Books, Sat., Apr. 23. Yes, it is truly a gaggle, a good ME word from the 15th C. word that rises from cackle, an older ME word still. Here' we are. Out in front, leading us will be Jim Bertolino.
GROUP POETRY READING WITH VARIOUS LOCAL & REGIONAL AUTHORS IN CELEBRATION OF NATIONAL POETRY MONTH
Start: 04/23/2011 6:00 pm
Come listen to a variety of local and regional authors read their poetry in our Readings Gallery. This event is in celebration of National Poetry Month, and includes 18 poets, so come support their talents! The event line-up includes poets Luther Allen, Jim Bertolino, Elizabeth Colen, Oliver de la Paz, Susan Erickson, Seren Fargo, Paul Fisher, Carol Guess, Richard Harris, Steve Hood, Malcolm Kenyon, Robert Lashley, Neil McCrea, Kevin Murphy, Nancy Pagh, Melissa Ann Queen, Tom Schabarum, Charles Van Pelt, and Jeremy Voigt. Village Books is pleased to carry titles by most of these authors. Please call 360-671-2626 for more information, or stop in the store and take a look at our display of local poetry books on the mezzanine level. Or, go to www.villagebooks.com.For whom do we write? Some say they write for themselves, some say it is for others, or for an undefined audience now and in the future. Then, there are those who are unconcerned about audience. They declare that the process takes their writing where it will.
My writing is for myself, first; my extended family, second; and you, third. I write not in that order, but simultaneously.
For myself, I write to remember ordinary life-experiences that wane with an aging memory. For my extended family, I write so they will see me as more than their aging blood relative, who is lost in his recollections, but who is leaving a collection of memorable moments that more fully define his personality. For you, I write so that, as you read about my experiences, you will be motivated to write your own.
I entered Reimagine: Poems, 1993-2009 in the 18th annual Writer’s Digest International Self-Published Competition shortly after it was published. I submitted the book, paid the reading fee, and didn’t lose any sleep worrying about it winning a prize.
When the notification date rolled around and I didn’t hear anything, I put the competition out of mind and kept writing. In late January, I received a large envelope from WD with an evaluation and a “certificate of participation.” This was a real surprise! Normally, you receive a “thank you” letter, the list of finalists, and the name of the winner, if you’ve included an SASE with your submittal.
So how did the book do? On a scale of 1 (poor) to 5 (excellent), it received a 4 in each of rated category: structure and organization; grammar; and production quality and cover design.
The judge’s comments were:
“In reading his poetry, the reader seems to be introduced to Harris as both a writer and a person. The inclusion of backstories and dates of First Draft [sic] to Last Draft [sic] was something I really enjoyed (especially when I tend to view things of that nature as excessive—in this case, it worked).
“The photos included seem too small. Also, black & white was not the best quality for them, especially since Harris seems very proud of them.”
My response is:
From the beginning, I was advised against including backstories, year of origination, and year of first draft. Yet, I’ve received only thanks from readers for including these, confirming my gut feeling that the more one knows about a poet’s background, the poem’s backstory and when it was written, the better it is understood and enjoyed.
Apparently, the judge hasn’t self-published many books. Yes, the photos are too small, but they fit the format. I would have loved to have them in full color, if I could have found a printer who would print the book for a reasonable price. You bet, I’m proud of the pictures.
You bet, I’m proud of Reimagine. And I look forward to reading your book.
See Reimagine: Poems, 1993-2009 at www.richardleeharris.net.