In Acheson’s chapter titled, “Cycles,” he overviews the environmental characteristics of Maine and its waters before diving into lobster biology. Acheson wrist describes how Maine’s summer months are superior as it is warm, but not too hot. This is the reason he says, why many people from southern New England and further south, summer in Maine. Acheson also describes the fog, mud, snow, wind, and foliage that are present within the different seasons. He then talks about the Gulf of Maine and how the the conditions are ideal for the production of fish due to the outflow several large rivers. The mixing of fresh in salt water in the river estuaries creates high nutrient levels, which support fish larvae growth. Also, the horizontal flow and vertical mixture of the Gulf of Maine’s waters help create a strong ecosystem in which larvae, juvenile fish, and plankton are distributed amongst the water column. Acheson touches upon the history of Maine’s fisheries and the evolution of lobstering, eventually reaching to how it is now so crucial to Maine and its coast.
xThe article then shifts to focusing on the lobster. Acheson describes where lobsters live, both in type of habitat as well as depth and temperature of water, what lobsters eat, and how they grow. He also goes into how lobstering is at different times within the season. In the early summer, fishing is poor due to a large number of lobsters shedding their shells and hiding in the rocks. Fishing is at its peak in late summer as the weather is good and more lobsters are available to be caught as a new generation has reached legal size following their molt. Acheson closes with describing a lobstermen’s typical day, from waking up before the sunrise, to the actual process of hauling traps, to returning to home late in the day.
The Authenticity of Landscape
In the article, Imperial Landscape, Mitchell brings up the idea of a “dark side” of landscapes. He alludes to the fact that landscapes are not all that accurate in portraying a natural scene and that there are always aspects of landscape that are misinterpreted. Mitchell writes that, “we say landscape is nature, not convention, in the same way we say landscape is ideal, not real estate.” And, “that is how we manage to call landscape the natural medium in the same breath that we admit that it is nothing but a bag of tricks, a bunch of conventions and stereotypes.” This makes me think about Allen Island and the way that it is described in Betsy Wyeth’s vision in the Theroux and Ralston articles. For Betsy, Allen island was a “blank canvas”. A canvas that she then physically altered by planting trees and other vegetation on, and one that she constructed buildings on. While being on the Island, the landscape felt very authentic to me and that everything there was natural, though after reading these articles, I question whether the landscape of Allen Island that I saw, is one that is authentic.
Betsy’s Allen Island: If You Build It, They Will Come
For Betsy Wyeth, Allen island is, “a 450 acre blank canvas there on the horizon,” explains Peter Ralston, “she (Betsy) had a vision – one as powerful as any ever imagined by any Wyeth. Betsy’s vision was that of resurrection, of reestablishing a community at sea. She envisioned a place where men could base their fishing operations and she saw a home for herself and her husband – an ultimate refuge.” Betsy also wanted her island projects to be a source of education and betterment of others, as seen in her role in creating the Island Institute in 1983. I think that Betsy’s vision is coming to fruition. Though now she is of very old age, there are many people working hard to make sure Allen Island stays true to how Betsy originally imagined it. In just one visit to the island, it was clear that her goals have been achieved. The hundreds of lobster traps stacked up on the docks mark the the fishermen taking full advantage of their opportunity to use the island. With the creation of the museum, which was mostly Betsy’s doing as well, and the opportunity for groups of students and researchers to visit the island, the island is definitely proving to be a source of education for others. And finally, it is hard to believe that the island is not, “an ultimate refuge,” for Betsy, as after just spending one night there, it feels to me as though it would definitely fit the bill. It is clear that Betsy Wyeth’s vision is being achieved.
What is a Map to Allen Island?
Prior to my reading of Harley’s “Deconstructing the Map,” I had never put much thought into the breadth of detail to which a map can cover. The only maps I have ever used are ones for displaying basic geographic information or for navigation, never considering the art of cartography or the different ways information can be displayed in maps. What resonated with me was Harley’s analysis of the transition in material mapped in a given location as time progresses. It is also interesting to think about how the technology of map making has changed, and the accuracy of them accordingly as well. This is important to connect with the task of mapping different aspects of Allen Island in an accurate and coherent manner, while understanding the purpose of the map. Through reading this article, I have realized that maps can provide so much more than just geographic relevance. As Harley mentions, analyzing maps can provide a way to make other information easier to understand and add significance. I hope to be accomplish this by providing maps in my projects about Allen Island.
The Reach Spacetime
Goat Island fits into Harvey’s description of spacetime, where, “matter and processes do not exist…or even effect it.” The island is a figure of how a a place can be stuck in this process of the fusion of space and time. Separated from the mainland, Goat Island exists as its own world, largely unaffected by what goes on across the reach. As the mainland has spent years developing and advancing, Goat Island has spent the same time unaffected by these factors. This is especially relevant for Stella Flanders, who has never gone over to the mainland; she explains how this is due to her feeling that she has never had a reason to. I think that this is a product of how spacetime has influenced her and Goat Island as a whole. For Stella, it is impossible to separate the space that Goat Island takes up, and the time that she has spent there. The psychological feeling of the reach growing smaller, is also due to the compression of space and time.
Analysis of the Image of Three Men Fixing Gill Net (Hudson 155)
This image depicts three men sitting inside what looks like a fish house, working together to either rig, or fix a gill net. The three men have a rugged appearance, and seem fixated and perhaps tired by the work they are doing. These clues suggest to me that these men are the fishermen themselves. The clutter of lobster traps, rope, and other fishing supplies in the background of the fish house denote that there is a significant amount of gear stored in the fish houses, and maybe there is more gear to be mended after the net. It would make sense that with using wooden traps and mesh nets comes frequent repair.. The image is a symbol for the camaraderie that the fishermen have with one another. It is not just one of them working to fix the gear, but rather they are all helping out to fix the net to be able to get back to fishing. It also illustrates an aspect of the profession that has not been discussed much in the readings so far: the behind the scenes work. Fishing or lobstering is much more than just going out to catch your targeted species. Just readying the boat and the gear for the trip is a significant task and requires a large chunk of time and energy. The three men do not seem to be interested in one another; they simply seem absorbed in getting the work done. After a long days work out out sea, having to repair gear is not the first thing that these men probably want to do, but they acknowledge that it is a necessity in order to get back to fishing the next day.