Minnesota Summer Quotes

Minnesota! It smelled like raspberries and sunlight and tender grass. It was summer and everything was more beautiful than any picture she had carried with her....There had never been a place in the world as beautiful as Minnesota.

Minnesota! It smelled like raspberries and sunlight and tender grass. It was summer, and everything was more beautiful than any picture she had carried with her.

There’s about a hundred shades of green in a Minnesota summer, light like celery, deep like emeralds. You wouldn’t think one color could have so many different flavors.

Not even much survives as memory. Many of the most notable names of the summer—Richard Byrd, Sacco and Vanzetti, Gene Tunney, even Charles Lindbergh—are rarely encountered now, and most of the others are never heard at all. So it is perhaps worth pausing for a moment to remember just some of the things that happened that summer: Babe Ruth hit sixty home runs. The Federal Reserve made the mistake that precipitated the stock market crash. Al Capone enjoyed his last summer of eminence. The Jazz Singer was filmed. Television was created. Radio came of age. Sacco and Vanzetti were executed. President Coolidge chose not to run. Work began on Mount Rushmore. The Mississippi flooded as it never had before. A madman in Michigan blew up a school and killed forty-four people in the worst slaughter of children in American history. Henry Ford stopped making the Model T and promised to stop insulting Jews. And a kid from Minnesota flew across an ocean and captivated the planet in a way it had never been captivated before. Whatever else it was, it was one hell of a summer.

...TV was entertainment of the last resort. There was nothing on during the day in the summer other than game shows and soap operas. Besides, a TV-watching child was considered available for chores: take out the trash, clean your room, pick up that mess, fold those towels, mow the lawn... the list was endless. We all became adept at chore-avoidance. Staying out of sight was a reliable strategy. Drawing or painting was another: to my mother, making art trumped making beds. A third choir-avoidance technique was to read. A kid with his or her nose in a book is a kid who is not fighting, yelling, throwing, breaking things, bleeding, whining, or otherwise creating a Mom-size headache. Reading a book was almost like being invisible - a good thing for all concerned.

I lingered a bit longer. The tug of kinship held me there, bound me to the place and to a man I had never known, but without whom I would never have been. I conjured up his image one more time, and then laid back to rest. The late summer darkness drifted down from the sky like a warm mist, enveloping me and the graves before me,uniting us in its soft embrace. The world spun eastward beneath me, and the darkness deepened and spread over Hinckley, over Minnesota, over the American countryside, covering all of us in the same black shroud, tenants in common, tenants of time.

The day after Congress declared war, the Socialist party met in emergency convention in St. Louis and called the declaration “a crime against the people of the United States.” In the summer of 1917, Socialist antiwar meetings in Minnesota drew large crowds—five thousand, ten thousand, twenty thousand farmers—protesting the war, the draft, profiteering. A local newspaper in Wisconsin, the Plymouth Review, said that probably no party ever gained more rapidly in strength than the Socialist party just at the present time.” It reported that “thousands assemble to hear Socialist speakers in places where ordinarily a few hundred are considered large assemblages.” The Akron Beacon-Journal, a conservative newspaper in Ohio, said there was “scarcely a political observer . . . but what will admit that were an election to come now a mighty tide of socialism would inundate the Middle West.” It said the country had “never embarked upon a more unpopular war.

I’m Going Back to Minnesota Where Sadness Makes Sense" O California, don’t you know the sun is only a god if you learn to starve for him? I’m bored with the ocean I stood at the lip of it, dressed in down, praying for snow I know, I’m strange, too much light makes me nervous at least in this land where the trees always bear green. I know something that doesn’t die can’t be beautiful. Have you ever stood on a frozen lake, California? The sun above you, the snow & stalled sea—a field of mirror all demanding to be the sun too, everything around you is light & it’s gorgeous & if you stay too long it will kill you & it’s so sad, you know? You’re the only warm thing for miles & the only thing that can’t shine. Michigan Quarterly Review, Volume 54, Issue 3, Summer 2015

The iron miners who belonged to the Italian Club in the town of Virginia, Minnesota, took pains to procure more suitable grapes, dispatching a grocer named Cesare Mondavi to the San Joaquin Valley late each summer to acquire their supply. Inspired to get into the grape business himself, Mondavi soon moved his family to California, where his precocious son Robert would make his own name in the winemaking world.

All the dying that summer began with the death of a child, a boy with golden hair and thick glasses, killed on the railroad tracks outside New Bremen, Minnesota, sliced into pieces by a thousand tons of steel speeding across the prairie toward South Dakota. His name was Bobby Cole. He was a sweet-looking kid and by that I mean he had eyes that seemed full of dreaming and he wore a half smile as if he was just about to understand something you’d spent an hour trying to explain. I should have known him better, been a better friend. He lived not far from my house and we were the same age. But he was two years behind me in school and might have been held back even more except for the kindness of certain teachers. He was a small kid, a simple child, no match at all for the diesel-fed drive of a Union Pacific locomotive. It

At times, it seemed that the whole West was aflame. Later that summer, superheated air ignited the litter left by Minnesota loggers. It was a repetition of the firestorm that had enveloped Peshtigo twenty-three years earlier, when the Ingallses saw smoke from their little house in the Big Woods. This time, the Great Hinckley Fire consumed another entire town—burning more than 250,000 acres, killing between four hundred and eight hundred people, melting nails, and fusing the wheels of railcars to the tracks.

One summer in Peter’s home state, Minnesota, he worked as a puppeteer with a mobile puppet stage. He’d hitch the puppet wagon to his car and drive from park to park, entertaining kids. One day the hitch came loose and the wagon tipped over, scattering puppets all across County Road C. The police arrived to survey the scene. “The paperwork on this is going to take a while,” one of them said. Peter, nervous he was going to be late to his next gig, asked why. The cop nodded at the scattered puppet bodies. “We’ve got a lot of casualties here,” he deadpanned.

The adults continued having nightmares. They cried out in their sleep. In the mornings, they sat at the table and talked to us about their bad dreams: the war was around them, the land was falling to pieces, Pathet Lao and North Vietnamese soldiers were coming, the sound of guns raced with the beating of their hearts. In their dreams, they met people who were no longer alive but who had loved them back in their old lives. There were stomach ulcers from worrying and heads that throbbed late into the night. My aunts and uncles in California farmed on a small acreage, five or ten, to add to the money they received from welfare. My aunts and uncles in Minnesota, in the summers, did “under the table” work to help make ends meet if they could, like harvesting corn or picking baby cucumbers to make pickles. And the adults kept saying: how lucky we are to be in America. I wasn’t convinced.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

It wasn’t easy at first. He had expected difficulties with his parents and he wasn’t mistaken. His mother had a terrible fear of the bush—which had developed in the weeks when he had disappeared and she had had to believe he was dead. They talked many nights before she relented. He was older now, more seasoned, and she knew that. He had done well the past summer, when he had returned with Derek. With Caleb’s help, his mother came around. “How will you find the Smallhorns?” she asked. “The pilot, the man who flew me out, will know where they are.” Brian had kept the pilot’s name. The man had a one-plane operation working out of International Falls, on the Minnesota-Canada border, and Brian called. “The Smallhorns? Yeah—they’re up in the Williams Lake area in a fish camp but I’m not due to go up there until fall. I’m booked solid all summer with fishing charters. I can’t take the time to run you up there.” “How about getting me close? I can make my own way in a canoe.” “Just a minute.” Brian heard papers shuffling as the pilot went through his records. “Yeah, here. I’m due to take a couple of guys fishing in ten days. We’re going to the Granite Lake area and with my fuel I can take you maybe another hundred miles. That’s still a hundred miles short of the Smallhorns’ camp but it’s all chain lakes up there and you can do it without any really bad portages. I’ll give you a good map. How heavy is your gear?” “Maybe two hundred pounds, plus me and a canoe. Can you haul a canoe?” “Sure. On the floats. We’re taking one canoe and I can fit yours on the other float. When are you figuring on coming out?” “I’m not … sure.” “I’m due to make a supply run to them in the fall before trapping

We’re talking now of late August evenings in Minnesota. That world consists of the din of lawn mower blades turning in raucous slicing circles like buzzards over prey, the throb of a racing boat’s outboard motor on the Lake. Garden hoses run with cool water and wash over the last flowers of the year before the autumn turns all the green to brown. In the afternoons, children run through sprinklers on the lawn and men burn piles of last autumn’s leaves. Mothers prepare suppers and read novels under the shade of summer hats, carefully watching over their children from afar. All is safe and good in the summer. But Thom Algonquin can no longer hear the lawn mowers humming, boat motors churning, the hoses splashing or the children playing. He doesn’t smell the leaves burning or help his mother prepare supper. Thom Algonquin is seven years old and he has walked too far into the woods near his home on Lake Superior. He hears nothing save the sound of sunlight and trees, birds, and his own feet pattering along atop the underbrush. He is not so sure he can hear these things exactly though. It has now become clear to him that he has gone too far, too deep into the old woods. He is accustomed to going a little farther than his mother allowed, but he has walked miles past that line now. Though his heart races he does not scream or run or cry. He looks around for home but each direction is identical to the others. He remembers his Cub Scout manual saying that moss grows on the northern side of tree trunks because there is less sunlight. But the aspen trees have no moss on them at all, and the big white oaks have moss on every side of their trunks. He holds his breath and listens. He hears his heart beat, and somewhere behind that, he hears water, waves and lapping tides. The Lake. He can always find home from the Lake. His father told him to simply keep the water on his left hand and walk until he is home, should he ever get lost. Thom moves toward the sound of water. He walks quickly but doesn’t run, doesn’t panic. If he runs he will know that something is wrong and that he is scared. He does not want to know these things, does not want them to become real, so he walks quickly but calmly.

IT WAS ALL coming together. Smoothly. Too smoothly, LuEllen said. She was born and raised in Minnesota and was automatically suspicious of pleasantness. No matter how nice the summer is, winter always comes…

it was not yet true what Dorothy Boyd, the secretary played by Renée Zellweger in the movie Jerry Maguire, tells her son about flying first-class: “It used to be a better meal, now it’s a better life.” I grew up in a time and place where the word “public” had deep resonance and engendered the highest respect as a source of innovation—as in public schools, public parks, public deliberations, and public-private partnerships. I grew up at a time and place when I was anchored in concentric communities and where the American Dream—“my parents did better than their parents and I will do better than mine”—seemed to be as certain as spring following winter, and summer following spring. And I grew up in a time and place where Jews were the biggest “minority” but gradually integrated themselves and were integrated by the dominant white, non-Jewish society and culture, and while it wasn’t always easy or pretty, somehow it happened. So where was this place over the rainbow and when was this time? The Land of Oz that I speak of was the state of Minnesota, and, for me, its Emerald City, where I grew up, was, as I said, a small suburb/town just outside of Minneapolis called St. Louis Park. The time (I was born July 20, 1953) was the 1950s, 1960s, and early 1970s. Growing up in that community at that time was a gift—a gift of enduring values and optimism—that has kept on giving my whole life. Three decades of reporting from the Middle East tried to leach that out of me. So, today, mine is not a naïve optimism that everything will turn out well; I’ve learned better. But it is an enduring confidence that things can turn out well, if people are ready to practice a politics of compromise and pursue an ethic of pluralism.

First, the conventional approach to discovering God’s will focuses almost all of our attention on nonmoral decisions. Scripture does not tell us whether we should live in Minnesota or Maine. It does not tell us whether we should go to Michigan State University or Wheaton College. It does not tell us whether we should buy a house or rent an apartment. It does not tell us whether we should marry a wonderful Christian named Tim or some other wonderful Christian guy. Scripture does not tell us what to do this summer or what job to take or where to go to grad school. Once, while preaching on this topic, I said in a bold declarative statement, “God doesn’t care where you go to school or where you live or what job you take.” A thoughtful young woman talked to me afterward and was discouraged to hear that God didn’t care about the most important decisions in her life. I explained to her that I probably wasn’t very clear. God certainly cares about these decisions insofar as He cares for us and every detail of our lives. But in another sense, and this was the point I was trying to make, these are not the most important issues in God’s book. The most important issues for God are moral purity, theological fidelity, compassion, joy, our witness, faithfulness, hospitality, love, worship, and faith. These are His big concerns. The problem is that we tend to focus most of our attention on everything else. We obsess over the things God has not mentioned and may never mention, while, by contrast, we spend little time on all the things God has already revealed to us in the Bible.