Where is Frank?
In an attempt to keep making progress on my explorations of family history, and to justify my monthly contributions to Ancestry.com, I have implemented ‘genealogy Saturday’. On most Saturday’s, I pledge to discover more about my family, and to organize into a written account the information I already have. We’ll see how long this intention lasts.
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I continue to be interested in the life and family of my great-grandmother Ella (Mary Ellen) Hawk Norman (1859-1933). I now have information on much of her life. Thanks to the City Directories at Ancestry.com, I know where she lived almost every year from 1894 onward.
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My only photo of my Great-Grandmother Ella (Hawk) Norman (in about 1928). She is second from the right, with her hands folded. The group is standing in front of Harowitz’ Restaurant in Scranton, Pennsylvania where she worked as a pastry cook in the early 1900s.
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I also know about her husband, my great-grandfather Frank Norman, from the date of their marriage in 1886 onward
(see my post about their marriage
https://janetims.com/2014/05/15/the-tale-of-a-marriage-certificate/
and about Frank’s fall from a horse https://janetims.com/2014/05/12/searching-the-newspapers-2/).
But I know nothing about him before 1886. Most of all, I would like to know the names of his parents, my great-great-grandparents. Of my sixteen great-great-grandparents, these are the only two names I do not know.
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Unfortunately, the name Frank Norman was common in the mid-eighteen hundreds. I know from various documents that Frank was born about 1855 in Missouri. There were about forty Frank Normans born in Missouri in the mid-century and deciding ‘who was who’ has taken a major effort.
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I used the following ‘rule base’ to help me sort through the many Frank Normans:
1. Discard any females (the names Francis or Frances have been used for both males and females)
2. Discard any Franks born before 1845 or after 1870 (he was at least 16 in 1886 when he married and no older than 40). Since Frank’s birth year (1855) comes from two sources and is likely near to correct, I was more stringent than this when looking at each record. I have often found birth dates in the Census suspect, probably because people were vague when providing information to the Census taker.
3. Discard any Frank Normans who had other spouses before 1896, especially those with children born in the 1880s (Ella and Frank divorced in 1896, so he could have remarried). This takes careful searching through the Census records and family trees, going back and forth to see who was in the various Frank Norman families. It is too bad we don’t have the 1890 Census !
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Hooker, Laclede County is in south-central Missouri; Bethany is in Harrison County in northern Missouri
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After all this, I have found only one Frank Norman who meets my criteria. Francis M. Norman (born 1852 Missouri) lives with his father Moses Norman (born 1821 Tennessee), his mother Betsy (born 1820 Tennessee) and his brother Benj (born 1848 Missouri) in Hooker, Laclede County in Missouri (1860 Census).
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There were two Moses Norman families living in Hooker, Laclede in 1860. The other Moses Norman (born 1895 Tennessee) lives with wife Lucinda and their children. Moses 1895 was a landowner in Laclede. Although I have not been able to connect the two Moses Normans, it is reasonable to think they were related. In the Census, they are living fifty houses from one another, perhaps a long way in the days of large farm properties and the ‘open country neighborhood’.
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I cannot find Moses and Betsy in any Census after 1860. A person named Benj (died 1873) is buried in the Moses Norman Cemetery in Sleeper, Laclede and this may be Moses’ (1821) son Benj.
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On Frank’s Application for a Marriage Licence (1886), he wrote that he lived in Bethany, Harrison County, Missouri. There were Norman families in the Bethany area by 1880 and Frank may have gone there from Laclede to live or work.
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I may never know the names of my great-great-grandparents for certain, but Moses and Betsy sound like good candidates. I will keep looking until the powers invent a time travel machine just for genealogists!
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Copyright 2016 Jane Tims
one room school houses – hiding in the landscape
Last Friday, we took a drive along the west side of Grand Lake, in the Youngs Cove area of Queens County, New Brunswick. We were searching for old one room school houses. As far as I know, there is no list for these buildings in Queens County, New Brunswick, although a list does exist for nearby Kings County.
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I had seen one old school in the Whites Cove area, so we began there. This school was operated as a local craft store for a few years but is now a private cottage. The one room school is in good shape, painted bright red. The round plaque in the gable of the roof says 1837. The building had two front doors – one for boys and one for girls.
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Whites Cove school house
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We then continued toward Chipman, taking old roads when possible. I know that in the late 1800s and early 1900s, each small community (each Parish) had its own school, so we watched for the tell-tale design of the one room school house – a small, rectangular, one-storey building with a steep-sloped roof and rather high side walls. Each school had two or three tall rectangular windows on each side and one or two front doors. Some New Brunswick schools had a small anteroom or vestibule on the front. The bell-tower common on school houses in the United States was not typical of one room schools in New Brunswick.
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We followed the road along the shoreline of the peninsulas extending into Grand Lake. In particular, we were watching for the older homes that show what the community may have looked like a hundred years ago.
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As we came over a hill, we first saw the Rees school house. It had some of the characteristics I describe above. However, I am new to one room school hunting, so I was not really certain this little building had once been a school. And then my husband pointed to the sign on the small road opposite the building – School House Lane. The school house was being used as a cottage and was in poor condition with broken windows and a crumbled brick chimney. But I was happy to see the original stone foundation, a straight roof line, a large flat stone as a threshold, original clapboard on the front of the building, and evidence of the original vestibule.
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Rees school house
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Thrilled by our discovery, we continued to the next community and followed a side road. Almost immediately, we saw the Cumberland Bay School, announced by a sign above the door. It was a typical school house design, built on a hill. There was a rock foundation (with some brick) and a straight roof. The building was in good shape with evidence of regular maintenance and use, perhaps as a hall. A cold wind was howling and I felt sorry for the kids who must have come to school in all kinds of bitter weather.
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Cumberland Bay school house
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After seeing three school houses, we felt like pros. We took the next road along the shore, toward Cox Point, and found a school house outside the community of Range. It was set back from the road, used in conjunction with a family cottage. The roof was straight, the side windows were intact and the shingles were in good repair.
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Range school house
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I was delighted with our drive – we had discovered three school houses we did not know about! I also got a feel for some of the characteristics of these buildings and how they fit into the local landscape.
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a map showing the old school houses we found … you can see a pattern emerging … I expect there were once school houses in some of the other communities indicated on the map
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Why am I interested in this topic? My interests in landscape, the environment and history all come into play. I am also beginning to think about my next poetry project and have decided to explore the idea of school houses in the landscape.
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To do this project, I will think about the setting of the school house in the community and how topography (hills and lakes and rivers), vegetation (fields and forests, orchards and big old swinging-trees) and other built landscape (bridges, churches, stores and farms) would have influenced the students, teachers and members of the community. Visits to old schools, some talk with people who remember attending these old school houses and reading at the Provincial Archives would give me lots of material for my writing.
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Do you have examples of old one room school houses in your area? Did you attend school in a one room school house? I would love to hear your stories!
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Copyright 2016 Jane Tims
‘within easy reach’ – the history of a writing project
As I prepare for the publication and launch of my poetry book within easy reach, I am thinking about how long it takes to see a writing project through from beginning to end.
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Of course, the time depends on the writer, the project and many circumstances beyond the writer’s control. But the way to a book of poems can be long … for me it has not been days or months, but years.
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2010
For my book, the first idea came in 2010 when my husband and I were exploring our new lake property. We knew so little about the property and were delighted to find blackberries, growing in profusion along the ridge above the lake. I can still taste those plump indigo berries and remember how quickly we filled my husband’s hat (the only container we had for picking). I wrote the first poem for the project (‘berries in brambles’) at the end of the summer. By then I was thinking about combining my interests in local food and botany to write a manuscript of poems about ‘growing and gathering’.
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blackberries at our lake property
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2011
The second step in the project came with an application to artsnb for a Creation Grant. Not every writer seeks funding, but I knew, after 35 years of work, that I would produce my best work with a clear purpose and deadlines. I applied to artsnb in March 2011, in time for their April 1st deadline. When I was not successful, I tried again for the October 1st deadline and in December, a few weeks before my retirement, I received the letter saying my project had been approved. I would be able to transition from work into an endeavor I knew I would love!
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2012
The writing of ‘growing and gathering’ continued through the spring and summer of 2012. I was determined to base my poems on experience, so I spent lots of time hiking and driving to locate and pick the various plants I wanted to write about. That spring we tapped twelve of our red maple trees and planted a small garden. Many of the plants I harvested grow on our properties at home and at the lake, but for some of the plants, we drove the countryside, poking about in the right habitat to find the plants I sought. My best memory is of a spring day along the Dunbar Stream north of Fredericton, discovering mounds of trout lily leaves growing on the floodplains along the brook.
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Trout Lily, also known as Dog’s Tooth Violet or Yellow Adder’s-tongue
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For the next months, I harvested leaves and roots and nuts and berries. I chopped greens. I boiled, simmered and sautéed. I competed, unsuccessfully, with squirrels for hazelnuts. I scraped gum from spruce trees and peeled wild sarsaparilla roots. And, of course, I ate my fill of raspberries, blueberries, dandelion greens, fiddleheads, samphire greens, orach leaves and apples. From my own garden, I harvested rhubarb and herbs, onions and tomatoes. I visited Farmers Markets and roadside stands, sampling the best local produce in the world. I stirred memories from my own family history, recalling days when my dad kept bee hives and when my mom and I went blueberry picking. Really doesn’t sound like work, right?
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salad ingredients from the garden and market
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And then I wrote. And did research about the edibility of plants. And wrote some more. And did lots of pencil drawings. As I wrote, I consulted my Floras of New Brunswick and Nova Scotia. I completed my project with a manuscript of 135 poems and 29 pencil drawings. I submitted my manuscript to artsnb in October 2012.
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2013
For me, the writing is only part of the process. I try to read my poems as often as possible, and I submit regularly for publication. For the ‘growing and gathering’ project, I read poems at eleven events and submitted poems to 12 literary journals. I had some success and, of the poems in the book, twelve have been previously published in seven literary journals. I also submitted the manuscript to the New Brunswick Writers’ Federation writing contest in 2013, winning Honorable Mention. Now that all sounds like work!
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Orach growing among the rocks at the upper end of the Minister’s Island causeway
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2014
From the beginning, I knew I wanted a published book of the ‘growing and gathering’ poems. So in 2014, after revisions and paring the poems to a reasonable book length, I began to submit to publishers. I submitted to three publishers and received three kind rejections. Then, in the fall of 2014, at the New Brunswick Writers’ Federation WordsFall, I met Keith Helmuth and Brendan Helmuth of Chapel Street Editions in Woodstock. They were interested in publishing books about the natural and human history of the Saint John River and I wondered if they might be interested in my book. I sent them my manuscript and soon began one of the best partnerships of my life.
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2015 – 2016
During the last months, Keith and Brendan have worked to prepare my manuscript for publication. I have read every poem 20 times, revisited sources, squinted at Latin names to make certain they are spelled correctly and considered every comma and every line break.
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Within a few weeks, my poetry book, within easy reach, will be a reality. When I first hold the finished book in my hands, I know I will be experiencing a milestone in my life. I will probably melt into a puddle. And the work will not yet be done! Ahead of me are readings and marketing and signing copies. I hope the rooms where I present my book are crowded with people eager to buy and read, but I know there may be places where I will be hoping a lone bystander will purchase a copy.
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From beginning to end, my book has taken almost six years to complete. This may sound a bit daunting for a new writer reading this, but it is also encouraging. Your goal, like mine, may be publication. But it may also be to create a body of work representative of your life as a writer. My experience shows that every line, every paragraph, every poem you write, is part of a path towards your goal, whatever it may be. ‘A writer writes.’
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wild strawberries at our lake property
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Copyright 2016 Jane Tims
after the ice storm

Our drive in the crystal world after the ice storm reminded me of a poem I wrote years ago.
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It is a rebellious poem (for me), written when I was entering the workforce and unwilling to be viewed from any traditional point of view. Part of the poem uses the metaphor of ‘breaking the glass ceiling’ (Marilyn Davidson and Cary Cooper. Shattering the Glass Ceiling: The Woman Manager. Paul Chapman, Pub., 1992). The poem is about an experience in 1979 of walking in a forest after an ice storm, on one of my earliest dates with my husband. Apparently I didn’t want him to think of me in any traditional role!
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Breaking the Glass Ceiling
we still see birch
bent in the forest
broken yet grown
fifteen years
since the ice storm
years translucent
as the curtain of fir
you held back for me
I ran ahead
wanted to walk with you
but hoped you knew
how alone I could be
above me branches
burdened
with ice
your hand on my arm
go softly ! (you said)
a touch
will shatter
twigs and tree-tops
chiselled from ice
breathe
and hear a million cymbals
tied to our wrists with ribbon
I wanted to listen with you
but hoped you knew
I would never be
coins in a wishing well
a ballerina bolted to a box of jewels
goblets clinking for a kiss
I will not let you
shelter me
I know only
shards of glass
from the ceiling
(some days I am fragile
only needing warmth
to keep from breaking)
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Copyright 2016 Jane Tims
apple orchard after the ice storm
On Saturday, we went for a drive to see the results of last week’s freezing rain storm. Every tree sparkled with its layer of frozen water. When we stopped by the roadside to take some photos, the sound of cracking ice made a continuous stippling noise in the forest.
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I was amazed at the odd miniaturized appearance of the ice-covered apple trees in an orchard not far from our cabin. The trees are normal sized but there is a lack of scale and weirdness of light in the photos that miniaturizes the entire scene. The third photo, including the ploughed side road, looks more normal.
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I think this will be our last winter storm of the season. We still have snow on the ground but next week’s warming should take it all away!
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Copyright 2016 Jane Tims
Who ate the sunflower seeds???
First week of spring! Cold and snowy!
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I woke this morning to find my newly-filled sunflower seed feeders all empty. Three pine siskins and a goldfinch were clinging to the finch seed feeder but the other birds are out of seed. A look at the yard will tell you who was slurping up the sunflower seeds in the night!
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Copyright Jane Tims 2016
‘within easy reach’ – a painting for the front cover
As the release date for my book of poetry ‘within easy reach’ draws near, I have been doing some painting.
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I began my project ‘growing and gathering’ and the poems for my book ‘within easy reach’ after my husband and I discovered blackberries on our new property at the lake. For this reason, blackberries seem a fitting subject for a cover painting.
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I think blackberries are fun to paint:
- a basic berry-shape of Payne’s Grey
- a highlighting of each seed in the drupe with Payne’s Grey mixed with Titanium White
- a spot of white to highlight berries on one side of the drupe
- a background of blues and purples to simulate the shadow in the thicket
- leaves and a stem
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This is my ‘practice painting’, in acrylics, 5″ by 10″.
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I’ll be showing you the final cover painting soon – 10″ by 10″, a perfect shape for the cover of my book.
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On a windy, wintery day, it is hard to be patient, waiting for blackberry season!!
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Copyright Jane Tims 2016
in the shelter of the covered bridge – manuscript completed!!

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Last year, in the competition of April 1, 2015, I was awarded a Creation Grant from artsnb (The New Brunswick Arts Board). The award was to create a manuscript of poems about plants and animals living in the shelter of covered bridges in New Brunswick.
I have now completed the manuscript and am ready to submit my final report. During the project I visited 28 covered bridges in the drainage basin of the Saint John River and 5 in Charlotte and Westmorland Counties. I was also able to use the notes and records from my visits to some covered bridges in 1992.
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The final manuscript includes 81 pages, 8 new drawings, and 63 poems, organised into five themes:
liminal spaces – 8 poems about bridges as places of transition and change
notch of a lily pad – 10 poems about the covered bridge as habitat
grit of a blade – 9 poems about engravings and graffiti produced by human visitors to the covered bridge
a blade of grass between thumbs -10 poems about mysterious discoveries in covered bridges
heads of timothy – 6 poems about encounters at the bridge
gaps between boards – 10 poems about deterioration and loss due to vandalism, fire and flood
a loose board rattles – 10 poems about the sounds resonating in a covered bridge
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Many thanks to artsnb for helping me in the making of the manuscript and for the chance to undertake such an enjoyable project!
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Copyright 2016 Jane Tims
edible wild – spruce gum
In my part of North America, we have freezing temperatures and snow on the ground from December to March. With a few exceptions, most plants go into sleep mode during these months and foraging for edible plants is difficult. You can dig beneath the snow to find a few evergreens, but most of the edible wild is above ground.
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When I am in the woods, even in winter, I am always on the look-out for spruce gum, a natural sugar-free treat from the forest. Spruce gum is found, as the name suggests, on spruce tree bark. We have a large stand of spruce in our grey woods, but the tree below grows, conveniently, beside our driveway. For a map of our woods, see the right hand column ‘map of the grey woods’.
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When a branch is broken or the bark is wounded in some way, the spruce oozes a sticky resin that eventually dries to a hard amber-coloured nodule. These nodules can be harvested and chewed like gum. My mom taught me about spruce gum, how to identify the spruce tree and to look for the sticky dark lumps where resin is hardening.
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It is possible to collect a quantity of spruce resin, pulverize, melt and strain the substance, and solidify it, cracking it into bite-sized pieces. I chew the nodules right from the tree, with a little scraping to get rid of any rough bits. At first the gum is hard and crumbly, sticky and intensely aromatic, a little risky for dental work and made interesting by the accidental inclusion of bark bits. After a few minutes of chewing, the gum becomes pliable, woodsy-tasting and orange to pink in colour!
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photos of chewed gum are a bit disgusting, but I want to show what normal-looking gum a two-minute chew produces. A rough nodule is shown above the chewed gum for comparison.
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People of the First Nations have always known about this woodland edible and used it for medicinal purposes. In the nineteenth century, spruce gum was harvested with long handled spruce scrapers and sold commercially. Woods-workers made small carved boxes with sliding tops (gum books) to carry and store the resin nodules.
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Robert Frost, wonderful poet of all things rural, wrote about spruce gum (‘The Gum Gatherer’. Mountain Interval. New York: Henry Holt and Company, 1916):
He showed me lumps of the scented stuff
Like uncut jewels, dull and rough …
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You can find the rest of the poem at Project Gutenberg http://www.gutenberg.org/files/29345/29345-h/29345-h.htm
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My upcoming book of poetry within easy reach includes a poem about spruce gum. The poem begins:
Black Spruce weeps if wounded
oozes to heal, embeds
pain in amber …
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As I wait for spring, I intend to ration my small store of spruce gum and use it as a kind of countdown toward the end of our winter weather.
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some very clean seeps of resin – these will harden eventually and make great spruce gum !
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Copyright 2016 Jane Tims


























