With all of the fear and uncertainty of recent weeks, we had a blessing fall into our laps. We had commissioned a video account of our Main Street sculpture project last summer, and we now have the completed 4-minute video.Read Rich’s Post →
Our Josephy Center book group is reading Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, by indigenous writer and professor of botany Robin Wall Kimmerer. We’ll have a discussion of the book on Monday night, March 9, at 7:00 p.m., at the Josephy Center, but anyone is invited to listen in—and at least comment by email— https://josephy.org/book-group/.Read Rich’s Post →
First off, thank you for reading my blog posts, coming to Brown Bag programs, stopping by to talk about books, Indians, treaties, wild foods, dams, fish, art, and the state of the world.
It’s been a fine year at the Josephy Center: wonderful exhibits featuring “Women on the Edge,“ “Art and Words of the Lostine,” “The Wallowas in Historical Photos,” and “Nez Perce Music.” The Josephy Center took on and managed the annual Wallowa Valley Arts Festival to great applause. The clay studio hums, and we teach special art classes for the Joseph school along with regular Friday student classes. For those of you in blog land, do visit the web site—josephy.org—and take in some of our shows and events when you come to town. Or click on https://josephy.org/video-audio/ to see or listen to some of the Brown Bag programs, exhibit openings, and goings on here at the Center.
My role at the Center is to run the Josephy Library and take the lead in Indian programming. It’s been a good year: a couple of small grants and two hard-working volunteers have caught us up with cataloging—check https://sagelib.org to see our holdings, and to begin making the non-book holdings accessible to the world. Our “Nez Perce Ephemera” and “Manuscript” holdings will soon be visible online.
|She “Returned from a hard journey”– ‘etweyé·wise|
But the biggest triumph—and the most rewarding event I have been involved with for many years, was the installation of ‘etweyé·wise, the story of Nez Perce return told in bronze and granite by Nez Perce artist Doug Hyde. At the installation of the first sculpture by a tribal artist on Joseph’s Main Street, we had drummers from Lapwai and Umatilla, singers and speakers from Nespelem. There were tears as Joseph Band descendants talked about this “homeland” and a long-ago Chief Joseph Rodeo queen unwrapped a mortar and pestle, found and held by her white family, and returned it to the Nez Perce. Then we—tribal people, local people, and curious visitors from everywhere—sat down and ate salmon together.
Things have changed in the Wallowa Country—on the installation of the sculpture, the Wallowa County Chieftain editorialized “Welcome Home.” There’s a Nez Perce art show coming in January (Opening January 5, 2:00—4:00 pm, with Kevin Peters, John Seven Wilson, Carla Timentwa and more) and another series of talks by elders in the spring. The Josephy Center is one of many organizational and individual partnerships expressing new relationships with descendants of the Nez Perce who long called this place home.
In this season of gift giving, when the family and good cause demands on you are many, think about a gift to the Josephy Center and its Library so that we can continue this good work.
(You can send a check to PO Box 949/ Joseph, Oregon 97846, or donate through the web site at https://josephy.org/donate/ )
I thank you for your support, and wish you all the best in the coming year.
Like many Natives, Doug Hyde was born off-reservation, is of mixed tribal descent, and is a veteran of the Vietnam War. Unlike most, but still a significant number of talented Native artists, Doug was sent from his reservation to the Indian Art School at Santa Fe as a young man. It was there, between growing up on the Nez Perce Reservation at Lapwai, Idaho and serving in Vietnam, that his training as an artist began, and there that he later returned to teach.
Doug is in his 70s now, a mature artist with a large body of work in galleries, museums, and on reservations across the country. But he has no intention of leaving the work and world of a Native artist.
|Nez Perce Tribal exec Ferris Paisano III and artist Doug Hyde|
A recent sculpture project brought Doug and his work, ‘etweyé·wise—“The Return,” to the Josephy Center this June. The project began with a grant to the Oregon Community Foundation. We said that Joseph’s bronze streetscape boasted 11 sculptures, four of them depicting Indians; none was the work of an Indian artist. We got the grant, and Doug got the job. And “Return” was his idea, a telling in stone and bronze of Nez Perce removal in 1877 and their gradual and growing presence in the Wallowa Homeland today.
On June 22 there were powwow drums from
|walwa’ma band from Nespelem sang old songs from Wallowas|
Lapwai and Umatilla, and a bell and songs of the walwa’ma band—Joseph’s band—from Nespelem, Washington. There was salmon and there was friendship, a coming together of Tribal people—who were often related but now living far apart—and of local people in this new Wallowa Country where, we hope, we
shall all be alike – brothers of one father and one mother, with one sky above us and one country around us, and one government for all. Then the Great Spirit Chief who rules above will smile upon this land, and send rain to wash out the bloody spots made by brothers’ hands from the face of the earth.
Those are words of Chief Joseph, of course, and in the ceremony dedicating Doug Hyde’s sculpture and in talking with him afterwards they came back to me. Doug could easily retire and be satisfied with a fine and large body of work, but he has no intention of doing that. Art is what he does; artist is what he is. And there is work to do. More healing to do in Indian country; more Indian stories to tell to non-Indians and to the young Indians who are stepping into elders’ shoes.
|Nez Pece woman returns|
There is something in the stone and bronze, and in the rounded forms that characterize Hyde’s sculpture, that says healing. My mentor, Alvin Josephy, said that the Anglo-colonists who came here conquered by dividing, tribe from tribe across the continent. And then the dividing and cutting continued—cutting hair, cutting language and culture, dividing children from parents with boarding schools, tribes from roots with missionary work.
Doug’s full-figured Nez Perce woman, dressed traditionally, walks back confidently to the granite block of Wallowa mountains where the empty space shows her long ago removal. She’s a woman, as Tamastslikt director Bobbie Conner pointed out, another powerful symbol of healing and wellness in a public sculpture world long dominated by men on horses with tools of war.
Doug lost words when describing a work he has in mind, something round and coming together—and his arms waved and body turned—that would show healing of old Tribal divisions—something I will see one day articulated in stone or bronze.
Qe’ci’yew’yew’ –Thank you Doug Hyde. And good work to you.
On Saturday, June 22, 2019, we dedicated a new sculpture at the Josephy Center on Main Street in Joseph, Oregon. Two years of preparation and the artisanship of Doug Hyde gave us a work he calls ‘etweyé·wise—which is an old word meaning “I return from a hard journey” in the Nez Perce language.
|Sculptor Doug Hyde and the Returning Nez Perce Woman|
The walwa’ma band of the Nez Perce was forced out of this country in 1877, leading to a war in which the Indians fended off government armies for almost 1400 miles through some of the most rugged country in the West. They were within 40 miles of Canada when the armies caught the cold and hungry people. A promised return to the West became eight years in exile in Kansas and Indian Territory—what the Nez Perce still call the “hot country.”
The Nez Perce War survivors were allowed to return to the West in 1885, but not to the Wallowa Valley. Some went to Lapwai in Idaho, others, including Joseph and his close followers, went to the Colville Reservation in Washington, where descendants remain in exile today. Other descendants are scattered on the Umatilla Reservation in Oregon, at Lapwai in Idaho, in Canada, and on reservations and towns and cities across the country.
Artist Doug Hyde is of Nez Perce, Assiniboine, and Chippewa descent. He grew up in Oregon and in Idaho and studied and eventually taught at the Institute of American Indian Arts in Santa Fe, and now lives in Arizona. His “Chief Joseph” is at the Smithsonian in Washington D.C. and the Clearwater Casino in Idaho. Doug has worked and is working with many tribes to tell tribal stories in art.
On the dedication day we had big drums and tribal members from Lapwai and Umatilla, and others from the Colville Reservation in Washington. They–the walwa’ma band descendants, sang and prayed to open the dedication ceremony, the big drums played, there were speeches and tears–a local women, a Chief Joseph Days rodeo queen from 1952, came with a small object wrapped in cloth which she wanted to return to tribal members. It was a mortar found somewhere along the Snake River years ago. She thought it rightfully belonged to the Nez Perce people. And then, as is customary in Indian country, we shared a meal, including salmon of course.
As we ate salmon and watermelon and enjoyed each other’s company, people–native and non-native–went to stand by the bronze Nez Perce woman and have their pictures taken, or stood back from the granite slab where her cutout welcomes her home to get their own image of ‘etweyé·wise, this return from a hard journey.
Please, if you are in the territory this summer, come by to see us–and to look at the Nez Perce woman as she steps back into her ancestral home.
# # #
(Uh oh! Sounds like he is going to ask for money—yes, but nicely.)
First, I want to tell you what a privilege it is to work at the Josephy Center. Exhibits are fun—and fun to be a part of. Seeing classes and students, from pre-schoolers to adults, trying paint or clay for the first time can make my day.
And the opportunity to work with the books, papers, and people that are all part of the Josephy Library is just too good. It is humbling to listen to Nez Perce elders who remember their War and exile generationally, as if it were yesterday. It is exciting to hear an elder tell us that some of the kokanee in Wallowa Lake—“The ones trying to get out at the base of the dam”—will find their way to the ocean if given a chance, that a sockeye salmon run, gone for 130 years, is possible again with fish passage at a rebuilt Wallowa Lake Dam. And it is thrilling to see sisters from California and Wisconsin meeting here to celebrate their grandmother’s 1918 climb of Eagle Cap with the Portland based Mazamas.
Research, I’ve come to know, is not just the book writer or movie documentarian’s province, but what we all do when we explore the past and the world around us. It’s elementary kids reading books out of our “Nez Perce Teaching Box,” and the people coming in now with faded photos to give us for the January-February “Wallowa Country, pre-World War II” exhibit. It’s Allen Pinkham figuring out how to build a Nez Perce dugout canoe.
And sculptor Doug Hyde finding the right Nez Perce word for “The Return,” the name he wants for the stone and bronze piece that will go in our front yard this spring. We actually got an answer to his question from Haruo Aoki, the 90 year-old linguist who has spent decades saving and cataloging the Nez Perce language. I can’t make the marks on my computer to show you the Nez Perce word—but I’ll figure it out by the time the sculpture is installed this summer. (We have it in the Nez Perce Dictionary on our shelves.)
That will be a great event, with drums and song and salmon to celebrate—and you will be invited.
The Library and I have been with the Josephy Center for Arts and Culture for seven years—from the beginning. The board is concerned about the future: “What are the Library succession plans?” “How will it be funded?” Current board chair Jeff Costello says the Library is “in our DNA.” But how does that carry into the future?
Good questions. I just turned 76, and although I have no plans to quit this wonderful gig anytime soon, I have to admit that I won’t go on forever. But I know more than ever that the Library and the Josephy Center will go on—we’ve become an important part of this Wallowa Community, and, in my mind, an important window between Indian and non-Indian, urban and rural, present and past. It will be a great job for the lucky man or woman—maybe one of you out there with a passion for the past and its importance today—who steps into it. For now, I want a few more good licks myself on the way to retirement.
Help me do that! Your donation now will support the Library and help keep this wonderful organization and fine building lit and alive with art and learning, words, music, sculpture, pots, glazes, a printing press and blog posts about Coho salmon, seven drums, dugout canoes, and the work of my old mentor and our namesake, Alvin M. Josephy, Jr.
Rich Wandschneider, still learning to be a librarian–and loving it!
If you are “in the territory” in June!
Salmon talk—and controversy—today is about “spills” on Columbia and Snake River dams to help push salmon smolt to the sea. Fifty and sixty years ago it was about getting salmon upriver to native spawning grounds.
The June exhibit at the Josephy Center, funded in part by a “Arts Build Communities” grant from the Oregon Arts Commission, opens on Saturday, June 2 at 4:00 p.m. It builds on one that Tamástslikt Cultural Institute on the Umatilla Reservation did last year on Celilo and the dam at The Dalles. They called it “Progress vs. Protest,” and told stories of the economic and energy gains—and the losses of fish and Indian culture on the Big River. In planning this exhibit, Tamástslikt Director Bobbie Conner suggested that we localize, with stories of the dam at Wallowa Lake and the High Mountain Sheep Dam—the one that did not get built—joining text and photos from Celilo.
|Wallowa Lake Dam-1916. Photo courtesy Edsal White|
The Josephy Center asked Joe Whittle to research the Wallowa Lake dams, and Jon Rombach to take on High Mountain Sheep. The result is an exhibit that gives background on the march of dams on the Columbia, a good accounting of the flooding of the ancient fishing site at Celilo with the construction of The Dalles Dam, and tells important local stories about dams, fish, and tribal culture.
Early settlers scooped sockeye salmon out of Wallowa Lake by the thousands, and failed to realize the species’ special migration pattern from Ocean to river, lake, and headwaters—and back to the sea. But the understanding of all salmon by the scientists of the day—the late 1800s and early 1900s—was off the mark. Thinking that native streams were not important—that Pacific salmon would randomly find a river to travel—scientists thought they could make up for the huge cannery harvests on the Columbia with hatcheries and moving eggs and smolts from one river to the next. Locally, dams and hatcheries at Minam and Troy, the experts thought, would easily replace the fish the settlers were harvesting on upper rivers and in Wallowa Lake.
No one bothered to ask the Indians.
In this exhibit we include the Indian stories of dams and salmon. And several special programs will allow for discussion of dams and fish. The revitalized Associated Ditch Company will talk about the present and future of the Wallowa Lake Dam at a June 12 Brown Bag, and Nez Perce Fisheries biologists Brian Simmons and Lora Tennant will describe how Imnaha salmon and steelhead fare as they migrate through the hydrosystem on a June 19 Brown Bag. That Tuesday evening Nez Perce elder and Fisheries veteran Silas Whitman will talk about culture, salmon, and the Snake River dams, with special attention to the one that did not get built. He’ll be able to point to a topographical map in the exhibit that shows how much of Hells Canyon and the Imnaha River corridor would have disappeared under “Lake Imnaha.”
Other programs are in the works, and Allen Pinkham Jr. will continue his dugout canoe carving in June. The exhibit runs the entire month, but please put the opening, the big splash on June 2 at 4:00 p.m., on your calendar. Tamástslikt Director Bobbie Conner will be here to help launch the show.
# # #
Allen Pinkham Jr was here this weekend working on the canoe. He had some help in a Saturday work party, and the small canoe–16 feet–Is looking like a canoe. To remind, we had it in the water much earlier–Allen wanted to make sure it floated right, without tilting port or starboard. It did, and we got some pictures, etc.
Which means that he could start thinking about the finer points of design and function: making sure the bow is heavier to compensate for the oarsman in the rear; comparing the shapes of bow and stern to photos of old canoes and the new ones being built by river and coastal tribes. It means we took off another 50 pounds I guess. Allen estimates weight at around 300 pounds now, and thinks we can take off more as we clean up the inside hull. Here is what it looks like now, blunt bow to left:
The next move is to finish this one and begin on two 30 foot logs now stored in Jim Zacharias’ yard. Allen talked with Jim this weekend, and the plan is to float the two logs in Wallowa Lake and establish their density–I.e. find the natural bottom of the canoe.
After that–and this is a variation on earlier plan–both logs will be hauled to the Josephy Center, and with a little bit of space on neighbor Sports Corral’s side yard, set them both up to be carved. One will be worked–as this one has been worked–with power tools. The other will be stone and fire. Well, antler, stone and fire to burn out the hull. The power-tool canoe will be another workshop lab, as the 16 footer has been, aimed at making the traditional canoe better.
This all started when Allen taught a beading workshop here a few years ago and said something like “You know, we [Nez Perce] were canoe people long before we were horse people. I’d like to come back and carve one.
Well–our goal is to help him carve three!
|Nez Perce Removal and Return|
Artist Doug Hyde was born in Hermiston, Oregon, and traces Nez Perce, Assiniboine, and Chippewa tribal ancestry. He attended the Institute of American Indian Arts in Santa Fe and the San Francisco Art Institute in the 1960s. While recuperating from serious injury after a second tour in Vietnam, Doug learned to use power tools to cut and shape stone. Sculpting in stone and bronze became the passion and focus of his life.
Plateau Indian Art on Main Street is a project of the Josephy Center for Arts and Culture, funded by a generous grant from the Oregon Community Foundation. The Josephy Center’s namesake, Alvin Josephy, Jr,, helped bring the Nez Perce story back to American attention with his classic history of the tribe, The Nez Perce Indians and the Opening of the Northwest, published in 1965.
The grant is part of OCF’s “Creative Heights” initiative, which encourages non- profits, artists and citizens throughout the state to test new ideas, stretch creative capacity, and provide unique opportunities for Oregonians to experience innovative arts and culture. The initiative has thus far invested more than $945,000 through 13 Oregon nonprofits, part of a $4 million, four-year investment by OCF in arts and culture around Oregon.
Hyde will receive a $25,000 artist award in three installments over a year-long period, with additional grant money available for artist travel and expenses, and artwork production. The second finalist for the project was Yakima artist Toma Villa. Each finalist had time to draft a proposal for jurors from tribal and local communities. Doug’s proposal deals with Nez Perce removal and return to the Wallowas. He will visit the city and meet with local artists and Josephy Center and city officials in the near future before developing a final plan.
In 1998, one of Hyde’s sculptures was installed at the White House. In 2008, his bronze, Little Turtle, was purchased for the permanent collection of the Smithsonian’s Cultural Resource Center. Hyde has focused most of his efforts in the past decade to help Native American tribes tell their stories.
The Josephy Center and Oregon Community Foundation are proud to give Doug Hyde the chance to tell the Nez Perce story in the town named for its most famous leader.
# # #
|Daybreak Star–a Nez Perce Woman|
Allen Pinkham Jr. got his dugout canoe into the water at Wallowa Lake in November. He’ll be back for some finishing work on this 16 footer, and then on to the 30 footers! The plan is to build one with the help of modern tools–as was done with the smaller canoe–and then one with traditional tools and methods. And then—he wants a trip on the Snake River in 2018.
Meanwhile, here’s the run-up to launch, and the canoe–and Allen and granddaughter–In the water. That’s son-in-law Travis, whose day job is in a commercial boat-building shop, working with Allen.
|Canoe, Allen, granddaughter, Wallowa Lake|
On Sunday, August 19, we launched Allen Pinkham Jr.’s dugout canoe. This one, as described before, is about 16 feet long, was shaped with help of Jim Zacharias’s mill, Allen’s work with electric chain saw, and his further work—with some minor help from a few of us locals—with chisel, hammer, and adze.
Six of us hoisted it onto James Montieth’s pickup bed, and the six of us lowered it into the water at the boat dock on the north end of Wallowa Lake. There was a big, fancy powerboat across the dock from us, but our craft immediately attracted attention and drew a crowd of 40 or more, including a raft of kids who wanted to try it out.
Which they did. And it floated, and it floated true—not listing port or starboard. Both ends took on about same amount of water, but Allen thinks he can adjust that as he does final shaping of hull and gunnels so that the rower’s weight at the stern will be matched by a heavier bow. At this point the hull is 1-3 inches thick, and he wants it close to 1 inch. And the sides will also be whittled down to ¾-1 inches. (Which all should take off another hundred or more pounds, so that we will be able to load and unload with a smaller crew.)
For those of you following the canoe project, there is a 30 foot log waiting for Allen in Jim’s log yard. He plans to utilize modern technology on that one as well—Jim’s mill, the electric chain saw, etc. But then—the far off dream at this point, but the man has some determination in him—there will be a more traditional canoe, built with the tools available to the Nez Perce before the time of Lewis and Clark, a historical time close to the last time people of the tribe built dugout canoes.
A couple of years ago Allen Pinkham Jr. was here at the Josephy Center teaching beading and drum building. At the end of his stay, he said that “We Nez Perce were canoe people. I think I’d like to come back here and build a dugout canoe.”
I wrote this and sent it out to people on my “blog list,” a couple of days ago, but forgot to put it up on the blog itself, so that those of you who find these musings by other means can know a little more about current doings and future plans. If you would like email notification of new blog posts, send me an email at firstname.lastname@example.org. In any case, thanks for reading, and best of holiday seasons to you…….
So I understand it is “Giving Tuesday” and the tugs on your giving budget are many. And I know that many of you on my blog list also get emails and/or mailings from the Josephy Center—the big house that holds the Josephy Library and hosts music, exhibits, lectures, art classes and workshops. If so, you got a recent fundraising letter, and this Tuesday missive will just be more specific with a library pitch. If you have already donated this fall—and I know many of you have—thank you again! If you haven’t heard from us this fall, here is the Library pitch!
The Josephy Center for Arts and Culture is a four-year-old non-profit. It lives in a beautiful log building on Main Street in Joseph, Oregon (causing all amount of confusion: City of Joseph-Old Chief Joseph, Young Chief Joseph, Alvin Josephy). Library books (and soon journals) are cataloged on the SAGE Library System, hosted at Eastern Oregon University, linking over 60 Eastern Oregon libraries (https://catalog.sage.eou.edu).
The Josephy Library is rich in Indian and Western American history and culture, and is growing with donations from collectors and heirs of collectors. We don’t have everything, but we have almost everything that Alvin wrote or edited, and gems of books and articles about Nez Perce War survivors and fine art books featuring the signature artists of the Plains and Plateau tribes. I am buying gloves to handle the portfolio of photos by D. F. Barry of Plains Warriors, Chiefs, Scouts, and Frontiersmen, and putting John W. Powell’s 1891 categorization of North American Indian languages in an acid free box.
We’ll also add a small permanent Nez Perce exhibit, explaining briefly who lived here and how, to the Josephy exhibit built at the Library’s door in 2015. You can now see and read that exhibit on-line— http://josephy.org/library/alvin-josephy-exhibit/. Most of the money for the new exhibit is already raised, and we are talking with Nez Perce elders about its contents. It too will be on the second floor with the Library.
There are rare books and autographed books in the Library, but most of our books and journals should be moving across the land, into hands like yours so that we can all learn and know more about Indians and the country we share. That’s my goal for the next year: figure out a way to make most of this library circulating. I’m told that we can expect 50-100 interlibrary loan requests a month, and at least that many local checkouts. I’m told that we might be able to do it with another $15,000 in our Library budget.
That, in addition to my half-time salary (part of which is paid for by work on overall Josephy Center programming), a small book and journal budget, dues to SAGE, and miscellaneous expenses, will make the Library about a $45,000 item in the $220,000 Josephy Center budget.
You can donate on line– https://josephy.org/support-the-josephy-center-for-arts-and-culture/ –or send a check to the Josephy Center/ PO Box 949/ Joseph, Oregon 97846. Again, if you have already made a fall donation to the Center, Thank You! We appreciate your gifts, look forward to your visits, and look forward to putting real—or digital—books and journals in your hands sometime soon.
Dear Friends of the Josephy Library,
It’s been a fine year at the Josephy Center, and for me and the Library. The May exhibit celebrating the 50th anniversary of the Nez Perce National Historical Park was outstanding, and the centenary celebration of Alvin Josephy’s birth, which dovetailed with the Indian art and included the opening of a standing exhibit explaining his life and work, matched it. Albert Barros came with a Nez Perce Tribal Proclamation; Bobbie Conner gave a stirring speech about her grandfather, Alvin, and living on this sacred ground; Nez Perce Drummers sang and drummed. One of them, Gordie Higheagle, remembered staying at the Josephy Ranch during a Day Camp, and a long friendship with Al Josephy. Al spoke too, as did daughter Diane.
And visitor after visitor spends the half hour looking at the pictures and reading the texts to learn why the Center is named “Josephy,” and how Alvin and Betty Josephy wove their ways through the major historical events of the twentieth century and into the hearts of the Wallowa Country—and Indian Country nationwide.
This fall, Alvin’s old friend and sometime publisher Marc Jaffe and I, with the aid of his world class editor at Knopf, Ann Close, edited and published The Longest Trail: Writings on American Indian History, Culture, and Politics. What Alvin wrote 50 and 60 years ago is still of moment—first reviews say we did a good job of selection.
In 2016 we hope to have an Indian writer in residence in the Library. And we are planning on two Indian artists in residence in the spring—Allen Pinkham Jr. wants to return and build a Nez Perce dugout canoe!
There’s more: Walter Brennan days, with films and a one-man play; women’s art and agricultural art; a Josephy lecture and a ton of art classes for students and adults.
Thanks for your part in it, whether it’s coming to a lecture or concert, reading these blog posts, or making a donation. If you are in the territory, join us on December 3 for our “Gift of Art” show, and come to the annual Christmas Concert on December 20!
And, and… many of you have recently received the annual giving letter from Executive Director Cheryl Coughlan. Please respond as you can if you have not already done so. If you are only connected through this Library Blog, l invite you to jump into the whole party. You can drop a check in the mail to Josephy Center/ PO Box 949/ Joseph, Oregon 97846, or you can make a quick trip to our web site donation page—http://josephy.org/support-the-josephy-center-for-arts-and-culture/.
|Beadwork byAllen Pinkham, Jr.|
|Al Josephy’s favorite picture of his father|
|Lyn Craig and Rich at the Josephy Library shelves|