Minna Page, a cannery worker, inside Stinson's Cannery in Belfast in 1990. PHOTO: PEGGY MCKENNA COLLECTION/PENOBSCOT MARINE MUSEUM

Working Waterfront

When the Maine coast was ‘Sardineland’

In the mid-20th century, there were some 75 sardine canneries operating along the Maine coast, so calling the region “sardine land” wouldn’t be hyperbole. The Penobscot Marine Museum in Searsport is diving into the history of that once robust sector of the marine economy in its spring exhibit, “Sardineland: Boom,… SEE MORE

Working Waterfront

Preserving our island and coastal history

Ideally, you should be able to pick up an Island Journal from 15 years ago and find something interesting to read. Early in my tenure editing the magazine, I leaned too heavily on stories that were newsier, and I heard from some readers that this was not their preference. SEE MORE

Working Waterfront

Writing prompts personal revelations

It's impossible to not be moved by someone opening up this way, and the only way it can fail is when it is overwrought, pretentious, or over-written. There are a few pieces that slide into these sins, but the bulk are honest in their aim. SEE MORE

Working Waterfront

Fishing photos: ‘What’s going on here?’

Crowley has chosen dozens and dozens of images from the museum’s collection and explains what is being depicted. In 2012, Diversified Communications, publisher of National Fisherman, donated its thousands of pre-digital (that is, film) photo archives to the museum. SEE MORE

Pauline Inman's “Fisherman’s Boots,” 1943, wood engraving, edition eight of 40. COURTESY TIDES INSTITUTE AND MUSEUM OF ART, EASTPORT

Working Waterfront

Pauline Inman engraves Downeast shore

Inman belongs to a diverse and exceptional line of printmakers who have found inspiration in Maine, from Frank Benson, Ernest Haskell, Rockwell Kent, Stow Wengenroth, Carroll Thayer Berry, and Peggy Bacon to Thomas Cornell, Marvin Bileck, Holly Meade, Alison Hildreth, Susan Groce, and Siri Beckman—to name (quite) a few. SEE MORE

Dave Brayton prepares to harpoon a swordfish on the Georges Bank. PHOTO: PENOBSCOT MARINE MUSEUM

Working Waterfront

Capturing the kill

He used a polarizing filter to help lessen the glare on the surface so the swordfish could be clearly seen; those preparations, coupled with some savvy darkroom work, produced the cover shot. SEE MORE

A boat arrives at the Monhegan pier. FILE PHOTO: TOM GROENING

Working Waterfront

Building higher on Monhegan

Facing the community now is the decision of how to move forward—forward toward a response to the increasingly powerful winter storms and the growing summer traffic. The main thing I am considering is how the changes will last for generations and affect the function of the island in every season. SEE MORE

Working Waterfront

Remembering trees

It began with my younger brother stumbling across a photograph of a beautifully decorated Christmas tree—stunning in fact. It was taken in 1954 but was entirely typical of the many nearly identical and similarly breath-taking trees I’d enjoyed by then for ten Christmases and he for eight and our still… SEE MORE

Working Waterfront

The recipe is just part of the story

It’s a terrible job writing recipes. I know this because during the past 40 or so years, I’ve written around 1,400 of the little stinkers. The biggest chunk of those were recruited from friends, neighbors, and readers which I tried out, reworked a little, and published for a weekly column… SEE MORE

Working Waterfront

Susan Webster and Stuart Kestenbaum harmonize

Kestenbaum has noted a sense of mortality in some of these poems. Two pieces titled “Eternity” address the end of life, “some pa/rt of me adrift/gone floating o/ver this sweet/and sad world." SEE MORE