Lakeside Apartments were already drowning. Hurricane Irene just held it under a minute to finish the job.
GATINEAU HILLS, Que.
I’m pretty sure that Airbnb was haunted.
I didn’t realize it right away. We pulled in just before midnight, parking to the side of the white bungalow. A stone’s throw away, across the drizzled grass, was a white church, its windows dark.
The wet fog and mist turned to heavy rain as I cut the engine and we dashed onto the wooden porch, trying not to make too much noise, though we couldn’t see our closest neighbours. A lone streetlight a hundred metres away highlighted the outline of barren road twisting away from us.
The front door had art-deco stained glass that vibrated as Melani worked at the lock. The sounds were swallowed by the rain and our giggles as we burst into the cottage.
Directly in front of us, a vaguely glowing rectangle, when lit, morphed into a giant painting of an owl holding a ball of fire, or the earth, or sitting on a shining egg-soul or somesuch. Opposite this horned monster was an ancient off-white and rose piano intricately carved and lovingly propped on its one good leg.
This discordant music and art room was separated from the rest of the house by sweeping black curtains. I pulled them apart to step through, thinking of the owner, “she’s pagan,” as one might realize “she’s Irish” or “she likes owls.” There was a collage of pagan flourishes on the wall over a dozen crystals placed carefully and exactly in a cross pattern on a round altar. The collage said: “Life deeply loves you.”
Yet as we explored the house, lighting corners, we turned up more spiritual imagery: there were votive candles and angels, Native American wards, Cinco de Mayo and vodoun pieces, burnt sage. A Buddhist shrine. Tibetan prayer cloths. There were candles and incense and crystals on every flat surface.
“She’s covering all her bases,” I thought, trying to ignore the foreign creaks and gurgles coming from the dim kitchen. “What is she protecting herself from?”
I was following four-year-old Jilly to the second storey when she said, in her way, “I like the stairs in this haunted house, Mum.” I stopped dead.
“Why on earth would you say that it’s haunted?” I asked, my voice an octave higher than I’d intended. She was already on the landing, so talked down to me: “The floorboards creak. Floorboards only creak in haunted houses.” She demonstrated on a loose section of hardwood in front of a darkly stained door labeled “Private.”
The rain had slowed to an unnervingly rhythmic staccato on the tin roof and we could hear the splashing of the creek behind the house, and the fertile cries of frogs and bugs. With no moon or stars and the streetlight faded into the mist, the world was black outside the windows. I decided I would not be afraid in this old wooden house that was trying so hard to be welcoming and to fend off things that might scare us.
I opened a downstairs door expecting the promised third bedroom and instead found a large mudroom hung with man-shaped coats and rubber-soled shoes and there, against the inky window, was a strange shape with broken curlicues. I leaned in closer and found myself staring hard into brown eyes that were judging or longing, framed by a sepia-toned face and hair that hinted at romance. The woman in the picture wore puffed sleeves and ribbon and a pearl choker. I looked at her, and she was looking right back at me.
A room away, Jilly had sat at the piano and was playing something tuneful. Yet no one has ever taught her how to play.
I tripped over my ankles backing out of the closet and shut the door. I don’t remember what I said to Melani, but I know I told her she wasn’t to open the door again. Searching for a wine glass I found the stash of extra votive candles, incense and tarot cards. The owner was on a mission to keep this home safe and grounded. Who were we to doubt her?
Yet I sat for a long time with my back to the wall, and I would not look at the closet door.
NORTH ANSON, Maine
Sometimes you have to put off spontaneity.
Like the time I rounded a corner and there was the most amazing rocky river and around the next bend was an overgrown, abandoned rail bridge.
The timing was off and there was no way we could stop, but that damn bridge wouldn’t leave my head. The next morning at our Airbnb, which we’d made a disaster of dishes and laundry, Melani did one of those things that keeps us together after so many years: She gave me a pass and told Trevor and I to go find that damn bridge.
We knew it was about 20 minutes back up the road, but we couldn’t remember exactly where. Our perspective was off, nothing looked right, and we knew for sure we’d gone too far when we came to the community hall in Anson.
We turned the car around and tried to jump-start our brains: “Remember there were those antique cars for sale? Did we pass those?”
“Oh, there’s the ‘Blind Person Ahead’ sign. I remember seeing that last night and thinking, ‘Damn, I hope he hears us coming’.”
Then there it was. The Carrabassett River was smooth and glassy on one side of the highway bridge, but showed a completely different face when approached from the south. Fast-running water rushed over hundreds of small boulders, sounding like static and looking like oblivion, pooling in basins that were deceptively calm. And there — crossing this menacing, narrow river — were symmetrical rusty lines against the bluest sky.
We pulled off the road directly across from the mouth of the bridge. There used to be rail where I parked the truck, but it was paved over sometime in the late ’70s, when the bridge was abandoned.
Beyond the static of the river below, the town was Sunday-morning silent. We stepped onto rail, and bounced lightly on a couple of the crossties. They were dark and veined and gave slightly under our weight. There were places farther ahead where plywood was nailed over ties to cover spots where it was rotted through.
Before this iron span was built, there was a covered rail bridge here, erected in 1888. There are marvelous pictures of it, and more modern ones, in a book by the Anson Bicentennial Committee. That bridge, not as impressive as this beast, was tough enough to withstand a tornado, if a letter to the editor in an 1890 edition of Engineering News is to be believed. Mr. Thompson referred to peculiarities in the bridge’s architecture and noted that iron plates on the structure had slipped.
“After the storm,” Mr. Thompson wrote, “the ends of each span were in place but their centers had been sprung about 18ins out of line so that the track formed a series of reverse curves while the top of the bridge roof and all was tipped so that the trusses were at least 4 ft out of plumb.” However, damage was quickly repaired and trains were running the next day.
On our clear day, we started a slow unsteady walk across. Trevor kept to the centre, close to the rail, while I walked on the outside edge because I could see thick reinforcement beams under the ties. The wood was spongy and invited caution.
This bridge was built 109 years ago. The Somerset, Maine Central, and Pan Am railroads carried lumber, agricultural goods and people over the Carrabassett to the end of the line here at North Anson.
Locomotives that had roared across the track upon which we walked so gingerly were named things like Black Dinah, Moxie, and Bombazeen.
Just past the halfway point was a strange metal beast we have since learned is a buffer stop, meant to prevent locomotives from rolling farther down the end of the track. It wouldn’t stop more than ghost trains now, but it stood at attention, cool metal under a hot sun, unshaded at the centre of the bridge where even the most hardy of weeds haven’t ventured yet. Past that was the high bank of the Carrabassett and more rail, so overgrown we lost our footing more than once as we peered through the brush back over the bridge and ran our fingers over the rusted dates on a switch to the side of the track.
We were steadier on our trip back, and bold enough to venture under the bridge, where we found the water wasn’t as scary as it sounded or looked from above, and where Trevor discovered a rope attached to the ties above.
“Mom. Mom mom mom. Mom.” Back when he was little, this used to drive me nuts. “Mom has one syllable. Don’t waste all that breath.” I don’t mind so much any more. “Mom mom mom. Let’s swing on it.”
I gave him that look and he, eventually, let it go, and hardly laughed at me at all when I halfway fell into the river anyway.
The word eclectic is in their mission statement, so it’s no wonder I got a kick out of Tantramar FM.
The sign on the side of their building caught my eye as we drove through Amherst on our first day in the area. I like to know what’s up with local news and weather, so I flipped the truck radio to 107.9 FM, and it stayed there — and on the cottage radio — for a week.
The characters on the radio became my new friends, surprising me with classic rock on the way to the beach, hillbilly tunes while preparing dinner, then a little light jazz over cocktails (by “cocktails,” you understand, I mean a local beer while I barbecued). I was by turns bemused, taken aback, and reduced to delighted giggles.
CFTA 107.9 FM became such a fun part of our trip that Trevor and I stopped to take pictures of the building on our way out of town.
Trev urged me to go inside to talk to them, but I was, as always, overcome with shyness. The best I could do was tell a guy standing outside the station that I was just a fan of the station and not being creepy wandering around taking pictures. I felt kind of creepy, though, so I took some shoddy, badly framed pictures and dodged back to the car. I had just started pulling away when he came up to the driver’s side window.
“You want to come in?” he asked with a giant Nova Scotia smile. “I could give you a little tour if you wanted. Yeah, just park that car again and come on in.”
His name was Mike. He had eyes the colour of the sky just after the clouds clear, and he was wearing a tweed newsboy cap and white button-down shirt. He had the barest of Maritime accents and was clearly passionate about music. Though he’d sounded almost dismissive when I’d asked if he worked here, it became clear within seconds that the station is a big part of his life. He turned on tour-guide mode, waving broadly at the vinyl-sided building.
“This was originally a Dairy Queen,” he began. “Back in the ‘50s and ‘60s. Then for a long time it was a restaurant — you can see part of a sign right there — and back then it was just one storey. We built on the extra floor just really recently. We have all the windows and doors open right now to get some air through, so we might have to be real quiet when we go in.”
He led us confidently inside and introduced us to the ladies at the front desk before ushering us toward the sound booth. He never stopped giving us information and anecdotes, though in hushed tones, and pointed to screens in the sound booth to explain how the announcer knew he had two minutes and eight seconds before he was back on air.
“There’s an antique bingo machine,” he said, pointing into another small sound booth. “That’s for radio bingo.” Then through to a recording studio and two other little rooms, one for archiving, and the tour of the lower floor was almost done. As he led us back down the hallway, he tapped the red light outside the main sound booth.
“That thing goes on when he’s on air,” he said. “We’ve been wanting one of those outside the washroom, too.”
Mike got more excited as he took us upstairs. He’d helped build this extension and he was clearly proud. It was clean and open and bright up there, with a large rectangular table under a wall painted with “Music is life. That’s why our hearts have beats.” The small green stage on the street end of the extension came from their old building, and it looked like it was dusted with the sounds of a thousand stories.
I think Mike would have told us half those stories if he’d known where to start.
One of the first nights we listened, I was enchanted by an announcer who had a personal connection with every song he introduced: “And this one is by a close personal friend who played often throughout …” and “This was recorded by so-and-so, who also played with my friend such-and-such …”
CFTA’s head of sales, Beverlee Estabrooks, told me over the phone that it was probably Wilson Moore (“He breathes bluegrass”) or Randy Geddes, who just bought a church where local bands can play. His son’s part of the music scene, too, Bev told me.
We listened to a wonderful and strange travel show recorded while the hosts were on the road. Knowing dead air is death for radio, the hosts did their best to narrate during a slow drive through Minudie: “Oh, look over there. A Saint-Bernard is pooping on the grass.” We weren’t able to squeeze in a trip to Minudie despite the sights.
I grinned every time I heard my favourite signoff, which came at the end of the weather and tide reports: “It’s 2:36 in Amherst. If you’re listening on the Internet, I don’t know what time it is, because I don’t know where you are.”
Tantramar FM is just five years old, but was the result of five years of planning. During a major ice storm, Bev said, a former announcer from another local station tuned in to find out what was going on and what sort of services he could get. But that station was fully automated, leaving him quite literally cold. He and two colleagues set out soon after to start a truly community radio station that would broadcast important information during power outages, storms and other emergencies.
The rest of the time “we just have a lot of fun,” Bev said.
There are only four employees, so volunteers fill 60 hours of on-air time. “You think about the couple of hours they put in at home before they even get in here,” she said proudly. “They’re the inside heart of it.”
The station is non-profit and teams up as often as it can with church groups, the cadets, Lions, local artisans, and other groups. It extends its to hand to community members who want to try out radio to see how it fits. Some record at home, others come in to test-drive the recording studio. A group of students is working hard on a series of ghost stories, Bev said, that will include the mystery of Esther Cox — a story I was going to tell you. But I’ll wait and leave it to the kids.
It’s 12:44 p.m. where I’m at. If you’re reading this on the Internet, I don’t know what time it is, because I don’t know where you are.
If you have a photo from when the building was a Dairy Queen, I’d love to see it. You can shoot me an email at email@example.com
I’m keen on the railroad, I tell people who ask, because of its role in building Canada, especially here, where Confederation could not have happened without this track being laid.
But it’s more than national pride. It’s a matter of personal history and more than 40 years of stories that touch rail to one degree or another.
I think of riding the train cross-country as an eight-year-old, with a new doll with a plastic head and plush pink body. She had a cord on the back — pull it and her head moved and body wriggled like a real baby.
As older teenagers, Melani and I boxed up our bicycles and took the overnight train to Moncton — the Hub City that is the end of the line and as far as you can go by rail if your destination is Prince Edward Island.
As a 24-year-old, this time with a real baby, four-month-old Trevor, and a deep desire to show him to spread-out family, and introduce him to the most beautiful land I know. Half a year later, he would learn to walk on a train, headed home from the Maritimes again on the Ocean, which was named here as a line on the Intercolonial Railway.
Amherst, long a shipbuilding centre and home to four fathers of Confederation, was not built by the railroad, as many Canadian towns were. Yet it owes much of its growth to that technology.
The Intercolonial Railway was dreamed up around 1840. It would be a road linking Nova Scotia and New Brunswick — isolated by land, sea, and a sliver of Maine — with the Province of Canada, then just Quebec and Ontario. Such a road would take a northern route, smoothing the transport of military supplies in case relations heated with the Americans again, as they had in 1812, and respecting the United States Act during the U.S. Civil War.
In theory it was a genius plan. But it was also a rich plan, and who on earth could pay for it? The four regions started laying track separately and hopefully, waiting for a solution to materialize.
That solution was Confederation itself, with the building of the Intercolonial Railway being inscribed as condition of the union of this eastern half of what is now Canada. It thus became the first major Crown corporation and the biggest infrastructure and transport project of its time.
There is debate over the reasons the Intercolonial wiggled and wound its way through Nova Scotia and New Brunswick: Was it to bring the railroad to logging communities and more effectively avoid the United States and their just-ended Civil War, or was it a sign of corruption, and the towns’ foresight in wanting track through their blooming towns?
Whether politically motivated or through the intelligent design of chief engineer Sir Sandford Fleming, a wooden train station was built in Amherst to accommodate the opening of the grand project, which boasted the best quality construction with raised rail beds and iron bridges. It was 1,100 kilometres long when it was deemed ready to roll in the mid-1870s.
The Canadian Guide Book in 1891 gushed, “It is a government road, admirably built and equipped, and most moderate in its charges. It runs through some of the best fishing and shooting districts of the continent and some very beautiful landscapes.”
Amherst was a boom town with the world at its feet. It replaced its little wooden train station with the lovely red sandstone building that stands today, a glory of local supplies and craftsmanship.
All good things come with a price, and for Amherst that marker was called in 1910, when its beautiful station was still fresh stone. The nation experienced a downturn, and of course those are always felt more heavily in the Maritimes. Nine years later, workers called a general strike over worsening conditions and in solidarity with the great strike in Winnipeg at that time.
The Intercolonial, which in its prime had swallowed the Grand Trunk Railway, was in turn swallowed by the Canadian National Railway. The tracks were eventually turned over to passenger service Via Rail, which uses them to this day.
But the station is shuttered. Its whitewashed beams show signs of dirt as they must have when steam trains were the most heavily seen traffic. It’s a stop on the route inland, but there is no glory here except in the whisper of ghosts and the imaginings of a train whistle heralding prosperity, so very very long ago.
Part of an occasional series exploring North America’s national, provincial and state parks.
AMHERST SHORE, N.S.
Probably the water doesn’t always smell like sewage. And maybe it wasn’t sewage after all. Maybe the sheet of oil that made brown bubbles on the surface of the otherwise clear water was caused by all the speedboats taking advantage of a perfect summer day.
If I sound grouchy, it’s because all I wanted was to swim in the warm, warm ocean waters that flow through the Northumberland Strait.
Our sweet little cottage is three kilometres west, but the long, flat, slippery rocks there make it nearly impossible to get out far enough to swim. Beatons Bluff is smack between two provincial parks: Tidnish Dock, which we visited briefly two years ago, and Amherst Shore.
Split in two by the Sunrise Trail, the inland half of Amherst Shore park is reserved for camping — No Picnicking! it declares at the entrance — and the beach is a 10-minute walk away, through a wide rocky rail through the woods.
The beach is about 100 metres long at high tide, tucked into a shallow bay created by treed, 40-foot bluffs. High tide made the beach seem smaller and more private, and we played in the sand and relaxed in beach chairs and wandered waist-deep into the clear water.
Trevor, who is 20 and can in theory wander about without my panicking, walked the shoreline and reported back that the water on the other side of the bluffs was wild and choppy and that ours was comparatively peaceful.
That it was. We traced the paths of butterflies and dragonflies and watched in awe as seabirds danced in formation over the waves. We built sandcastles with uncooperative red sand and decorated them with shells. We waded waist-deep into the water and, eventually, got used to the smell.
We give Amherst Shore Provincial Park two stroller wheels out of a completely arbitrary five. The path to the beach is wide and, though rocky, smooth enough to use a stroller to shuttle all the things one needs at the beach. We didn’t have time to wander the trails, but they appear to be wide mown grass and rocky earth. And even if it isn’t the best park in the world, it is a byproduct of the best ocean in the world, and it’s an honour to spend a few hours sitting quietly near it.
When I was a little girl, my Barbies’ Dreamhouse was made of shoeboxes and toilet-paper rolls held together with Scotch tape.
On the edge of Nova Scotia, our little Airbnb, which slopes toward Northumberland Strait, is a dreamhouse like that: one shoebox taped to another, added to a cereal box as soon as the Cheerios were done and the prize claimed. We spent our first day imagining how this cottage began, made up as it is of three unique little boxes, and whether it’s finished.
What’s clear is that it’s a house inside a house. The door to the kid’s room used to be an entry from outside. It still has the porch light, and there are tall narrow windows on either side. If that room and the kitchen beside it represent the 1970s, then the long dining room with painted floors, fat woodstove, and faded flyswatters are the ’80s, and the polished living room and master suite, with its right angles and cleanly caulked windows, are the 1990s.
Once we realized it was a Barbie construct — none of the pieces being original to the other — we tried to stop figuring out how the cottage came to be (though I dreamed about it) and started thinking about it like a puzzle.
If you glance at the puzzle, laminated and framed and hanging about like a regular piece of art, you’re just fine, but it’s unnerving for a moment when you realize it’s full of cracks and curves and patterns that are hard to appreciate when you weren’t part of the assembling.
We have nothing but respect for the industriousness of the architect. We’re spending a week in their dreamhouse, surrounded by hay fields and ocean and rosebushes and wandering each shoebox and cereal box with delight and wonder.