1. “Mr. Greenwood in the office of the Knox Woolen Company, August 1900.”

Mr. Greenwood is at his work in a little museum of calendars — at least six of them, by my count. The one behind him is the public one, the one that’s open to us visitors as well as Mr. Greenwood. But his private stock is probably not a reserve of days but a reserve of pictures to be delighted in. Tied off beside his head is a light bulb, but the sun of a long New England summer day seems to be what is illuminating the pleasure chamber now and filling it with still more pictures to keep visitors happy. See how the sun throws Mr. Greenwood’s shadow onto the wall below the glassily reflecting lithograph of an Inman Line steamer.* See how the light carves his left shoe with its heel counter and its lace into bas-relief.

But in the weak sun of New England the photograph required a long exposure, and there Mr. Greenwood’s body-moving breaths had to be recorded as a blur affecting his face. Mr. Greenwood’s life was proceeding on its course during the instant in 1900 when a shutter was opened to it, but in his museum of time it isn’t available for exhibit.

2. “Margaret & Augusta Talbot, March 1899 in back of the Congregational Church.”

It appears that the church, with its name and its grammar of location (“in back of”), functions as a point of reference for the place occupied in an otherwise empty whiteness by two little persons with names of their own. Superimposing themselves in black on the white ground, the three names (Margaret, Augusta, Congregational Church) assign Margaret & Augusta to coordinates in a permanent world. Captioned with names that can be located on a map (that Margaret, that Augusta, that in-back-of-the-church), they have become heroines (so long as the snow shall endure) of the historical fiction that there is no death.

Sources: Photographs by Theresa Parker Babb in the Camden (Maine) Public Library, and Photoshopped.


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