Opening The Art of Seeing Whales

.Entry begun on Tuesday, July 24, at 5 am

It’s 5 am and I’ve been awake since 4, so I may as well begin this entry. I came home from the trip with sinus congestion, and the sulfa drug my doctor gave me was not able to eliminate it, so I went on an antibiotic yesterday.

The opening reception for The Art of Seeing Whales was scheduled from 6 to 8 on the evening of Tuesday, July 1. After people gathered for drinks and light appetizers near the whale skeletons hanging high above the Jacobs Family Gallery, I gave a gallery talk in the exhibition space. We had an excellent crowd that was very attentive, and it was a pleasure to discuss these works in such a beautifully installed gallery. This was the first time I had been wired for two different audio-video recordings while giving a talk. One camera was from the local public access television station. The other was with David Shaerf, a professor from Oakland University near Detroit, whom I had previously met at a Moby-Dick Marathon when be was beginning a project of documenting the influence of Moby-Dick on contemporary culture. On this visit to New Bedford he had arranged to do interviews with a number of my MSCP colleagues. In the Midwest he had already scheduled interviews with Matt Kish in Dayton, Ohio, and Beth Schultz in Lawrence, Kansas.

Still from David Shaerf's video of gallery talk

Still from David Shaerf’s video of gallery talk

Because I had been very busy immediately before and after the voyage on the Morgan, I did not have a prepared text for this gallery talk. And, in general, when giving a gallery talk or an illustrated lecture with images, I prefer to speak from the images themselves rather than from a text I have written earlier. I did write out some notes for the talk on the front and back of a page of my legal pad, including the names of the three Inuit artists that I wanted to say correctly. In addition to highlighting the exhibition itself, I had decided to begin with a brief summary of the MSCP in New Bedford, beginning with the first visit Beth Schultz and I made in the summer of 1998. This provided a context for integrating the Schultz and Archive artworks along with those from the Museum’s historical collection. It also allowed me to address the current cultural moment in New Bedford in the context of our twice-annual visits during the last fifteen years. At one point I found myself saying that this was one of the happiest days of my life—speaking at this exhibition, in this gallery, in this Whaling Museum, a few days after having sailed into New Bedford on the Charles W. Morgan.   This is probably not something I would have said if I had written out a prepared speech.

Still from David Scaerf’s video during the gallery talk

Still from David Shaerf’s video during the gallery talk

Christina had suggested that I give the talk standing on the steps in the corner of the room housing the Holistic Harmony and Infant and Child sections. That would allow the audience to see me–and me to see more of the audience and exhibition–as I spoke. Nathaniel Philbrick, by quoting the passage about the “women of New Bedford” in his keynote address on Saturday, gave me a perfect segue into the introductory panel for the show with Piercefield’s Women of New Bedford directly above it. Even in this crowded room, the audience could easily see the contrast between Van de Velde’s 1617 Dutch oil painting and Xiaoguang Qiao’s 2009 paper cut out inside the entry of the show, in themselves a world of difference in how the whale has been perceived, and represented, across space and time.

Still from David Scaerf’s video during the gallery talk

Still from David Shaerf’s video during the gallery talk

One of the biggest questions about curating this show was how well it would work, visually and imaginatively, to mix historical paintings from the Whaling Museum with the work of contemporary Moby-Dick artists form the Schultz and Archive collections. I was delighted in the way this had worked out on the long wall on which Christina and her staff had installed the lives of the whalers in “The Perils in Between” followed by the fate of the whale in “Cutting the Whale.”  The visual rhythm between the grand historical portraits in oil on canvas in ornate frames and the contemporary works in mixed media on paper was fresh and illuminating. The installation flowed together in one continuous run from the Bradford history painting of a whale ship setting out, through the red velvet portrait of Captain Francis F. Smith processing the whale, to Milloff’s and Kish’s contemporary take on the cutting-in.

Jim Campomar looking in display case with "Cutting-In" section behind him

Jim Campomar looking in display case with “Cutting-In” section behind him

At the end of the room from which I was speaking, Zellig’s large drawing of the whale’s eye (Will He Perish?) held the attention as fully as it had when my students and I first saw it at the student exhibition in Rockford, Illinois, in 1997. The “Mother and Infant” section, augmented by the mother and infant whales in Piercefield’s Women of New Bedford, spoke strongly to our relation with whales as fellow mammals that had been one of the recurrent themes of the papers delivered at the Sympoisum. Lee Heald, the program officer of the Whaling Museum who had so strongly encouraged the early collaborative projects that resulted in the MSCP, attended the opening. After my talk she told me something I had not known about the portrait of Louisa Seabury Cushman and her child. The mother in the portrait is wearing tokens of mourning, suggesting that this painting may have been a memento mori after the child had died, which would explain some of the special emotion it carries. Peggi Medieros had mentioned Louisa Seabury Cushman in one of her essays in the special issue of the Standard-Times, noting that all three of her children had died as infants, leaving her and her whaling-captain husband childless.

The eye of Zellig’s whale drawing audience in still from Shaerf’s video

Eyes of the audience drawn to the eye of Zellig’s whale in still from Shaerf’s video

After speaking about the “Cutting the Whale” and the “Mother and Infant” sections, pivoting on Klauba’s painting of the nursing whales deep in the water under the carnage, it was somewhat of a relief to move on to the positive celebration of whales—and our relation to them—in Celia Smith’s Moby-Dick; in The Great Hunter by Nanogak, Kaodloak, and Kanayok; and in contemporary works by Aileen Callahan, Richard Ellis, Kathleen Piercefield, and Vanessa Hodgkinson. I had spoken somewhat longer than I had planned, but there were still many questions and much discussion after the talk was over.

Images of the whale by Ellis, Piercefield, Hodgkinson, and Callahan

Images of the whale by Ellis, Piercefield, Hodgkinson, and Callahan

Among those who had driven down for show today was a film producer from OceansLIVE in Provincetown, She liked how the subject of this show meshed with the video production that they would soon be making when the Morgan was scheduled to sail out among the whales at Stellwagen Bank off of Cape Cod. Jeff Levine, a collector of Moby-Dick art from Worcester, also drove down for the opening.  He came because of his interest in the subject, but also because he has a rich trove of rare materials pertaining to the Huston-Bradbury collaboration on the 1956 film that Jim Campomar from Argentina was very eager to see. They made arrangements for Jim to see the collection in which, among other things, he was thrilled to see unpublished original drawings that Huston and Bradbury each had made of the White Whale.

Jeff Levine (left) and Jim Campomar speaking with Wyn Keley in still from Shaerf viseo

Jeff Levine (left) and Jim Campomar speaking with Wyn Kelley in still from Shaerf viseo

The rest of the week passed quickly, as the Symposium continued up until I returned my rental car to the Providence airport. I was delighted when Molly Herron, one of the four composers in their early thirties who had premiered a Moby-Dick Oratorio in Brooklyn in February, arrived in time for the Symposium session that I chaired on Wednesday afternoon. I had suggested that the arrival of the Morgan with all its concomitant activities, in addition to seeing the Whaling Museum itself, might be of great interest to her as a reader and composer deeply interested in Moby-Dick, and she had found time to schedule a visit. Shortly before arriving, she had sent me a link with not only the CD but a video recording, the libretto, and the score of the premiere performance in February. I am hoping that future performances of that work might be arranged in New Bedford, and also as part of the programming surrounding the production of Heggie and Scheer’s Moby-Dick in Cincinnati in 2016. I was glad to get a photo of Molly standing beneath the Whaling Museum’s skeletons of the female right whale and its fetus that had been preserved from the remains of a deadly ship strike in the Atlantic Ocean several years ago.

Composer Molly Herron under skeleton of right whale and fetus in Jacobs Family Gallery

Composer Molly Herron under skeleton of right whale and fetus in Jacobs Family Gallery

Before leaving town for the Providence airport, I got a chance to go to Crowell’s Gallery and see the new works that Vanessa Hodgkinson had painted in New Bedford between the arrival of our ship on Wednesday and her flight from Logan Airport on Sunday. Six works hung together on a single wall. The seventh was on an adjacent wall. The sunset (or sunrise) watercolor with the white whale beneath the water (Mocha Dick) was one of my favorites because of the Turnersque rendering of the seascape. I love her image with the whales filling the sails of the ship at the top center below (Catch of the Morgan, reproduced in my “Out of the Cradle” section) because of its ambiguity: the cetacean cargo can either be whales that have been captured or whales that have captured the ship. In other words, you could see them as fast-fish or as loose-fish.

Six new works by Vanessa Hodgkinson at Crowell’s Gallery, July 3, 2014

Six new works by Vanessa Hodgkinson at Crowell’s Gallery, July 3, 2014

The one painting on the adjacent wall had no similar ambiguity. Vanessa had filled its sea with reproductions of an image that nineteenth-whalers used in their log books for whales that had been seen and chased but not captured. These were all loose fish.  This is confirmed by the title of the work, Those Who Got Away II (which I learned three weeks after visiting the gallery).  Its companion piece, Those Who Got Away I, is just as beautifully rendered, and satisfying to the imagination.  All seven of the new works are in watercolor and ink on paper

The seventh new Hodgkinson work at Crowell’s Gallery

Vanesa Hodgkinson, Those Who Got Away II, 2014

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Vanessa Hodgkinson, Those Who Got Away I, 2014

Vanessa Hodgkinson, Those Who Got Away I, 2014

 

 

 

 

 

 

 

 

 

On the way from Crowell’s Gallery to my rental car, I took my GoPro camera to The Art of Seeing Whales exhibition to see if I could capture good images of the works in the show without too much distortion from its fish-eye lens. I never really found out. After methodically going going hrough each section of the show, and uploading the file back home to see what I had, I found that the GoPro, like the iPhone, has a function that allows you to make the equivalent of a “selfie.” Instead of a filming a leisurely survey of every nuance of the show, I had accidentally filmed a close-up fish-eye of myself as I thought I was filming the show. I will have to try this again when I return to the Moby-Dick Marathon in January, after which the exhibition is scheduled to close, and be more careful of my settings. The image below gives a pretty good view of the part of the show that was behind me, but it’s not what I had in mind.

Unintentional “selfie” from the GoPro video in which I thought I was filming the show

Unintentional “selfie” from the GoPro video in which I thought I was filming the show

That last visit to the gallery, however, was not entirely lost. A grandmother had come into the gallery with her grandson (who you can see in the accidental selfie immediately above). Upon entering the room, he had paid close attention to the image of the cutting-in scene just inside the door. Then, at the other end of the room, he had literally embraced Klauba’s The Pod. The boy’s eyes were right up next to the image and his hands flat against the wall on either side. I asked his grandmother if I could ask him what he saw in the painting, and she encouraged me to do so. He said he did not want to talk much about the stuff up at the top “where they are hurting the whales,” but he loved the images of the mother and baby whales in the water below. We had hung this painting a little lower than I might have ideally liked, but it was just the right height for the heart of a six-year-old boy.

Klauba’s The Pod in the “Mother and Infant” section

Klauba’s The Pod in the “Mother and Infant” section

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Whaling History Symposium & Melville Society Cultural Project

Entry begun Tuesday, July 22, at 7:20 am

 LIfe-size sperm-whlae inflatable near the ship on the New Bedford pier

LIfe-size sperm-whale inflatable near the ship on the New Bedford pier

June 28 was an extraordinary day, but it was only the beginning of an exceptional week of celebration. Sunday afternoon featured a Parade of Boats and out into Buzzard’s Bay which included 19 whaleboats and 150 other vessels, according to the Standard-Times. That newspaper had of course been covering the arrival of the ship with a variety of features. On Sunday, in addition to reporting on the Opening Ceremony and Homecoming Gala, the paper released a stand-alone publication entitled Charles W. Morgan Returns to New Bedford, a special issue with 56 pages of text, advertisements, and schedules for the week ahead. Steve Urbon had mentioned before we boarded the ship in Vineyard Haven how much effort had done into preparing this special edition, and the result is truly impressive. Urbon himself contributed essays on the history of the Morgan, on the “rough lives” of its “rugged whalemen,” on the five-year restoration at Mystic Seaport, and on the city of New Bedford in 1841. Peggi Medeiros contributed essays on the lives of “desperate housewives” while their men were away at sea, on the essential role of Cape Verdeans in the life of the Morgan, on early life of Charles W. Morgan when he came to New Bedford and married Sarah Rodman, and on the role of New Bedford in the history of whaling.

Special issue of New Bedford Standard-Times for June 28 - July 4, 2014

Special issue of New Bedford Standard-Times for June 28 – July 4, 2014

This rich array of articles in the special issue of the Standard-Times was an appetizer for the Whaling History Symposium that was held next to the ship beginning on Monday, in the same warehouse that had hosted the Saturday night banquet (Building 2).   Immediately after the Banquet, from 11 until 2 in the morning, staff from the Whaling Museum had joined with others in transforming the banquet hall into an exhibition hall that would ready for the opening of the Symposium at 9 am on Monday. For a lecture room, they curtained off a space with about a hundred chairs and installed a projector and equipment for audio and video recording. The rest of the exhibition hall had booths devoted to the activities of the three primary sponsors of the Symposium, the New Bedford Whaling Museum, the Nantucket Whaling Museum, and the Mystic Seaport Museum (providing a new context in which to appreciate the huge scenes from the whaling panorama mounted on the walls). An actual Azorean whaleboat anchored an exhibition highlighting that island nation’s whaling tradition. The Whitfield-Manjiro Friendship Society from across the river in Fairhaven set up a booth about the museum they have created out of the home on Cherry Street in which John Manjiro, a shipwrecked Japanese sailor, had lived in the 1840s after being rescued by the American whaling captain William Whitfield. In addition to the indoor attractions, of course, were the outdoor attractions which had opened on Saturday, including the sperm whale inflatable, demonstrations of whaling craftsmanship, and the thirty-minute Moby-Dick, all of which were well-attended throughout the week.

Azorean whale boat under whaling panorama in exhibition hall

Azorean whale boat under whaling panorama in exhibition hall

We in the Melville Society Cultural Project had been asked by James Russell of the Whaling Museum to help coordinate the Whaling History Symposium. Speakers were scheduled from 9 to 12 and from 1 to 4 on Monday through Thursday. The program was put together by Mary K Bercaw Edwards, assisted by Caitlin McCaffery, at the same time that Mary K was preparing for the departure of the Morgan from Mystic, accompanying the ship to New London, Newport, and Vineyard Haven, and conducting daylong whaleboat demonstrations in several ports. I have no idea how she did it all. We had no idea how many people would show up for a series of scholarly presentations scheduled in hopes of attracting visitors who had come primarily to see the ship. Each of our MSCP members presented a paper as well as chairing a session. Each three-hour session featured three or four thirty-minute presentations followed by questions.

Mary K Bercaw Edwards, in her scholarly dress, speaking at Symposium

Mary K Bercaw Edwards, in her scholarly dress, speaking at Symposium

Mary K and I had been in New Bedford since the ship had landed, but we had hardly seen each other, so busy was she with the ship and I with the exhibition. I had intended to attend the Parade of Boats on Sunday afternoon, in which Mary K had commanded the lead whaleboat, but I had to steal some time to work on this blog, whose handwritten entries I had only managed to bring up to the beginning of the voyage itself by the beginning of the Homecoming Ceremonies on Saturday. On Friday evening, after working on the exhibition for much of the day, I had been delighted to meet Jaime Campomar, our Melville Society Archive Fellow from Argentina. He had flown to Logan Airport from Indianapolis, where he had been studying the successive scripts that Ray Bradbury had written for John Huston’s 1956 Moby-Dick film. Bob Rocha, who was coordinating Jaime’s stay for the Whaling Museum, drove him down from Logan Airport and brought him to the Wamsutta apartment in which he would stay during his two weeks of research in our Archive. I had expected to call our new fellow “Jaime,” the name he had used in our correspondence, but he introduced himself as “Jim,” having already, previously, lived for a considerable time in the United States.

“Jim” Campomar outside the Seaman’s Bethel with MSCP members Wallace, Bercaw Edwards, Baker, and Sten

“Jim” Campomar outside the Seaman’s Bethel with MSCP members Wallace, Bercaw Edwards, Baker, and Sten

Usually our group of six MSCP members make our summer visit to New Bedford in late July or early August, near Herman Melville’s August 1 birthday. Usually we stay for three days and tend to our Archive while having planning and review meetings with the Whaling Museum staff. This time we came earlier for the Morgan’s visit and the Symposium. And there was only one time, late on Monday afternoon, when we could schedule our customary group meeting with the Whaling Museum staff. We had much to discuss, as the Museum, in addition to contributing so much to the Morgan’s visit, had just broken ground on a very ambitious new Educational and Research Center that will bring its Research Library (and our Melville Society Archive) down from Purchase Street to be a major part of the Museum itself. The new Research Library will include a designated section in which we can display highlights from the Melville Archive.

Model for the Wattles Jacobs Education Center at New Bedford Whaling Museum

Model for the Wattles Jacobs Education Center at New Bedford Whaling Museum

On Sunday night our MSCP group met for dinner, as it often does upon arriving in town, at Elizabeth’s in Fairhaven. In addition to Mary K from Mystic (and the University of Connecticut) and me from northern Kentucky (NKU), Wyn Kelly is from Cambridge (MIT), Jennifer Baker from New York City (NYU), Chris Sten from Washington DC (George Washington University), and Tim Marr from Chapel Hill (UNC). This summer, in addition to preparing for our meeting with the Museum staff (and getting to know Jim), we had the Symposium to look forward to. In addition working together harmoniously, as we always do, it was great to hear each of our friends present a paper as well as chair a session. Mary K spoke from her unparalleled knowledge of the history of whaling. Tim spoke on the growing pervasiveness of Moby-Dick in popular culture. Chris spoke on the intelligence and consciousness of whales. Jennifer spoke on the way nineteenth-century scientists and artists perceived whales. Wyn spoke on the ever-evolving intersection of pedagogy, electronic media, and Melville studies. And Jim Campomar gave a very sophisticated analysis of the process of converting a script into a film.  My contribution to the Symposium was a gallery talk at the official opening of The Art of Seeing Whales exhibition, which I will address in the blog entry that followws this one.

Jennifer Baker making presenting her her paper about artistic and scientific representations of whales

Jennifer Baker presenting her her paper about artistic and scientific representations of whales

Melanie Correia, who had been installing the exhibition the week before, was this week monitoring all of the presentations at the Symposium, helping presenters upload their Powerpoints and making sure that each presentation was properly recorded. Christina Connett was as present this week at the Symposium as she had been last week at the gallery, and she had helped to oversee the transformation of the banquet hall into an exhibition hall at the end of the Gala on Saturday night.   The attendance at the Symposium was much stronger, and more consistent, than many had expected. The room was nearly full for many of the sessions, and the quality of presentations was high. The speakers were diverse in subject, origin, style, and background—including journalists, librarians, teachers, professors, scientists, film makers, museum professionals, and independent scholars—all united by interest in the whale. A few examples will suggest the flavor of their presentations.

Tim Marr making presentation about Moby-Dick and popular culture

Tim Marr making presentation about Moby-Dick and popular culture

From New Bedford historians Peggi Medeiros, Diane Duprey, and Laurie Robertson Lorant, I heard new information about Charles W. Morgan’s relation to the city’s African American community (not only in the names of specific workers he had hired to build the Morgan, but in his close association with Nathan and Polly Johnson, the African American caterers who had taken Frederick Douglass in to their own home when he arrived as a fugitive from slavery in 1838). Hayato Sakuri, director of the Taiji Historical Archives in Japan, extended his previous analysis of the life and career of John Manjio, both while living here and after returning to Japan. Hayato was also happy to demonstrate that he had convinced a leading Japanese newspaper to cover the 38th Voyage of the Morgan on its front page. Filmmaker Courtney Furguson from Australia provided fascinating new information about the early history of whaling in Australia and New Zealand, and the interaction of Western whalers and Maori warriors, involving rich racial mixing as well as well-documented warfare. Márcia Dutra of the University of the Azores, Western Island, summarized the deep connections between Azorean whalers and those of New Bedford, and Bradley Barr of NOAH brought us up to date about how nineteenth-century whalers contributed to what we know of the oceans today. One of the most memorable presentations for me (six hours of sessions four days in a row was a lot to process) was Mike Dyer’s illustrated lecture about the accuracy and beauty of the depictions of whales in nineteenth-century logbooks—in contrast to what was then available in scientific publications.

Ftont page feature on 38th voyage of the Morgan (and John Manjior) in Asahi Shimbun, Jule 27, 2014

Front page feature on 38th Voyage of the Morgan (and John Manjiro) in Asahi Shimbun, June 27, 2014

Throughout the Symposium, as during the voyage of the Morgan itself, it was striking to think about how mankind has evolved in its knowledge and appreciation of the whale. A fellow mammal that only a century and half ago was seen as only a creature to be hunted is now a worldwide subject of admiration—and even adulation. Isolated nineteenth-century writers such as Thomas Beale, Herman Melville, and Charles Melville Scammon—all of whom worked on whale ships but came to know and love the whale—are more than ever beacons of enlightened consciousness in the twenty-first century. To have the return of the Morgan to New Bedford accompanied by a Symposium setting the history of whaling in the light of our current consciousness was satisfying and inspiring. As Nathaniel Philbrick said in his keynote address, were have come here “not to celebrate the slaughter of cetaceans” but to learn what we can about how the history of whaling can better help us appreciate and understand the imperatives of the present. All of the institutions that helped sponsor the Symposium are wrestling with this exact idea, and the Symposium itself, led by the arrival of the Morgan, has surely helped to chart part of that course.  

Chris Sten presenting his paper on the intelligence and consciousness of whales

Chris Sten presenting his paper on the intelligence and consciousness of whales

I would love to know what Thomas Beale, Herman Melville, and Charles Melville Scammon would have thought if there were here to see the beautiful inflatable of Beale’s beloved sperm whale, the delightful thirty-minute rendition of Moby-Dick, or the back-to-back presentations by Bradley Barr and Michael Dyer on how much we are still learning from the meticulous and often beautiful log books kept by nineteenth-century whalers. Because we were to be so busy once the Symposium began, Mary K had arranged for us to see a special performance of “Moby-Dick in Minutes” on the pier just before we went to dinner at Elizabeth’s on Sunday.  We were impressed with the talent of the young actors in the Mystic Talemakers Troupe who had developed the play specifically to accompany the Charles W. Morgan on its 38th Voyage. It was well attended by people of all ages throughout the week.

Mystic's Talemaker Troup performing 30-minute Moby-Dick on New Bedford pier

Mystic’s Talemaker Troupe performing 30-minute Moby-Dick on New Bedford pier

Prelude

Entry begun on Saturday, June 28, 4:58 am

I had been hoping to begin this entry for several days now, but as soon as I got off the ship on Wednesday I’ve had much to attend to and enjoy. On Thursday morning and again on Friday afternoon we made our final decisions and completed the installation of The Art of Seeing Whales exhibition. On Thursday I had lunch with Vanessa and was able to see my GoPro images for the first time on her laptop, which she uploaded to my portable hard drive for me. Last night I met with Jaime (Jim) Campomar, our Melville Society Archive Fellow from Argentina, whom Bob Rocha from the Whaling Museum had met at Logan Airport in the afternoon. After the three of us met at the Whaling Museum, we drove over to the Wamsutta apartment at which Jim will be staying, after which I took him to a Portuguese feast at Antonio’s restaurant.

New Bedford harbor from hotel window before sunrise on June 28

New Bedford harbor from hotel window before sunrise on June 28

I’ve snatched what time I could to finish up my account of the day on Martha’s Vineyard before beginning my entries for the voyage itself (beyond the two short entries I had written on the shiip). After writing out the Martha’s Vineyard entries longhand, I had to find places and times for typing them out into a Word document, consulting as much as possible the clusters of photos I have taken on my digital camera and my iPhone, which I have so far no way of organizing into integrated files the way I would be able to do at home. For three days I’ve been feeling like Jake Heggie did for several months when he began composing his Moby-Dick opera after a visit to Nantucket in 2008. He was dying to write the heartfelt duet between Starbuck and Ahab inspired by the “Symphony” chapter near the end of the novel, but he could not let himself begin until he had written all of the music that preceded that moment in the opera, since all that had happened before would be shaping what each man thought, felt, and sang then.

Ben Hepner as Ahab and Morgan Smith as Starbuck in 2010 Dallas Opera premiere.  Photo copyright Karen Almond

Ben Hepner as Ahab and Morgan Smith as Starbuck in 2010 Dallas Opera premiere of Heggie and Scheer’s Moby-Dick opera. Photo copyright Karen Almond

I had planned to get up at 6 in the morning today and begin writing after breakfast, but after waking up about an hour ago I could not get back to sleep, and ideas were beginning to come, so I decided to open this journal and write. One good thing about beginning in the dark is that I could see the sun before and after it rose this morning, the silhouettes of the Morgan’s masts enriching the wonderful vista from my hotel window.

View of harbor as sun rises at 5:30 on June 28 (masthead of Morgan visible to right of central window pane)

View of harbor as sun rises at 5:30 on June 28 (masthead of Morgan visible to right of central window pane)