The Moonshiner and the Mennonite by Beth Winegarner

View of Massanutten Ski Resort from the peak of Massanutten Mountain, Virginia, USA. Creative commons.

View of Massanutten Ski Resort from the peak of Massanutten Mountain, Virginia, USA. Creative commons.

Regular readers know that I’ve been researching my family history off and on for a few years now. For me, one of the most interesting aspects of this research is reading people’s wills. I love discovering what people list as their most valuable possessions, and who they might leave those possessions to; it feels like a clear window into who they might have been. Recently, I’ve been focused on two specific wills: Martin Kauffman’s and Jeremiah Jackson’s. 

Martin Kauffman was one of my fifth great-grandfathers on my father’s side. (His daughter, Rebecca Roads, married my third great-grandfather, Isaiah Winegarner.) His father was Michael Kauffman, born in Bern, Switzerland, in 1675. Michael came to the United States -- likely a Mennonite fleeing religious persecution in Europe -- and settled in Chester, Pennsylvania, on the banks of the Chester River. He married Anna Kniesley. They moved east to Landisville and had several children, including Martin in 1714. 

The Kauffmans were one of a number of families to relocate from Mennonite settlements in Pennsylvania to the Shenandoah Valley in Virginia in the mid-1700s. At the age of 19 he married a local girl, 15-year-old Mary Lionberger. They and the rest of Rebecca Roads’ grandparents, including Joseph Rhodes and Mary Strickler, Abraham Brubaker and Barbara Miller, and Conrad Bieber and Maria Magdalena Kniesley (Anna Kniesley’s grand-niece), were among those who established a Mennonite stronghold in the valley next to Massanutten, a mountain named by the indigenous people of the area, most likely the Algonquins

Menno Simons, whose teachings the Mennonites followed.

Menno Simons, whose teachings the Mennonites followed.

Martin and Mary had several children, including Martin Jr., Anna, Jacob, Magdalena (who married a Strickler), Nancy, David and Michael. Martin Sr. was a Mennonite minister for much of his life, including in Massanutten. When he died in 1749, his wife Mary administered his will, which had been written in German. It mentioned none of his children. 

His effects were largely those of a holy man: five hymn books, three psalm books, 10 small books called “Golden Apples,” and many different books of sermons from men named Evan, Shay, Howard, Watt, Dodridge, Hickman, Blackwell and others. It also included a minister’s gown, 10 beehives, wigs, saddles and “much livestock.” 

Less is known about the life of my fifth great-grandfather on my mom’s side, Jeremiah Jackson, who was born in 1760 in Bedford County, Virginia -- about 150 miles south of Massanutten. (His descendant, Ona Jackson, was my great-grandmother). Eventually he headed south, settling in Greene County, Georgia, where he died in 1828. It’s unclear who he married; in his 1825 will, he only refers to her as “his wife” (he left her $5), but they had several children, including my fourth great-grandfather, Daniel E. Jackson. 

His 1828 will, drafted the same year he died, lists a number of seemingly random items for sale, including a thimble, six yards of gingham and an amount of camphor. But what stood out to me were the vast quantities of whiskey and gin listed over the course of several months -- pints or even gallons at a time. In 1828, a gallon of whiskey was valued at 45 to 75 cents. Same for a gallon of gin. A gallon of brandy was worth a dollar (which is akin to $20 today). 

Some pages from his 1828 will:

Was he making his own spirits? Moonshine production didn’t really take off until after the South lost the Civil War, but that doesn’t mean he wasn’t doing it earlier. 

I’m fascinated by how different Martin Kauffman’s and Jeremiah Jackson’s wills are. Sure, they both mention some regular household items. But the bulk of their worldly belongings lean in vastly different directions. Minister’s gowns and semon books. Gallons of whiskey and gin. I wonder what would have happened if they’d met. What would they talk about? Would they get along? Although their DNA mingles in me, I can’t begin to guess. 

Poem A Week: Persephone Sees Her Reflection by Beth Winegarner

Photo by Margarita Zueva. Creative Commons.

Photo by Margarita Zueva. Creative Commons.

Hades, I might have gone with you if you’d asked;
left my flowers and the world of matter behind,
but then you gave me your seed. From then I had you.

You believe me trapped in your red honeycomb,
Each tart cell a prison room.
I will consume these chambers from within
and emerge, my mouth ringed blood-red.

You are the transforming darkness, o father,
but your shades must not be mistaken for power.
You cannot possess what is glimpsed shining in a vernal field,
for what is taken underground then knows decay

and what dies lives again. We are all remade
by your realm, or by our fear of it. Only you remain as you are,
those dead flowers in your grip, trapped at the gates.

Poem A Week: Topography by Beth Winegarner

Mount Tamalpais. Painting by William Keith, 1896.

Mount Tamalpais. Painting by William Keith, 1896.

I want to kiss you everywhere, my love;
every place you can think of, I will press
my lips: The head of Dorset's Lulworth cove
while sailboats bob in the sea's wet caress.
The grassy flank of Glastonbury Tor.
Across Glen Canyon's shoulders. The Qingzang
railway's steep spine leaves us breathless for more.
The foot of Mount Tamalpais, the tang
of sorrel. Within the belly of the tomb
at Newgrange, blowing life into the bones.
Every place we visit becomes a womb
where new kisses are born. A passion zone.
I will explore you from mountain to cove;
I want to kiss you everywhere, my love.

Poem A Week: El Molino, 1989 by Beth Winegarner

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The sun has dissolved the morning fog.
As the bell rings for lunch, a boy swings his leg
over the back of the gold-painted lion statue
behind the science building.
He grasps its unmoving mane, rocks
back and forth like it's an amusement ride,
lets his long hair shake free in the noon breeze.

On the mangy lawn nearby, a mosaic
Of boys lifts their legs into the air, ready 
To catch the one who runs at them, jumps, 
Rolls onto the wave of their limbs. 
They ferry him to the back of the group, 
Drop him into the grass, and the next one
Gets up to take his turn crowd-surfing. 

Behind the auto shop, more boys are 
Clustered, kicking a hacky sack between 
Their feet in a silent, jerky conversation. One
Rolls thin joints, which they smoke and pass
Around, skunk-scented smoke haloing 
Their rumpled heads. The scent lingers
In their denims as they return from lunch. 

In the classrooms, nothing sticks; math
Is for napping and flirtation, chemistry for
Formulating LSD for next week's beach
Bonfire, literature for tearing out pages 
To roll cigarettes, foreign language for 
Telling dirty jokes and impressing the girls
With absurd phrases about fish heads.

Poem A Week: Part Thee and Me by Beth Winegarner

Illustration by Brian Froud.

Illustration by Brian Froud.

for the children of Lochlann
1996

I

Last thing I remember before washing up on this shore
Was the bright, jutting pain of the harpoon.
Our blood has stained these seas before, 
Birth-blood and death-blood, salt mingling 
With the bracken of storm-tossed shallows
And our falling numbers.

We lose our skins here. Sometimes to the trappers
Who hunt for their own greed,
Sometimes to lovers who take us whole
And hide our cloaks so that we must remain.
Among them there are few who know who we are,
But we are.

II

His arms, like liquid gold and just as hot, 
Lifted me to the sky. He took me to the woods,
Tried to bury me in blankets inside his blood-red
House. He took me in.

The air was thin, but heavy with white caresses
Of fog wrapped around the dark, pointed trees.
I walked among them, watching the sky, 
Which looked like the sea after a storm,
While his eyes, like the sea from below on a sunny morning,
Watched me.

I could go no further than his leash allowed,
Not even when I met the unicorn on the path,
Or the old woman who turned us inside out
And told me he was not the One. But I could not go
Back until I found my skin. The one he stole.

III

One night, high on mushrooms, he walked down
To where the town begins, then returned. "You can hear 
The lighthouse out there at night," he explained. 

"Do you really need to hear that awful sound?" 
I asked. "Every time it blows, it means another
Boat reaches shore safely, while another of my clan 
Bleeds to death on its splintered deck
In the dark."

He turned, away from the direction of the sea,
Salt water staining his cheeks. "I don't know why you
Brought me here," I continued. "You rescued me from
Nothing."
I was dying, drying out on his shore, thirsty for greater waters
Than those beneath his eyes.

IV

"I don't know where your skin is," he snarled for the seventh
Time. Sometimes he wished me away.
But I was his prize, won at the edge of the world,
As if in a great battle. His victory. So I walked
Out of that dying red house, and I took the unicorn with me.

He chased me to the waterline, lungs heaving,
Arms flapping, but I discovered my coat under
Sharp and heavy rocks. "Don't go," he begged, watching
As the tide turned the unicorn to a narwhal and set her free.
"I am not yours," I replied.
"She was not yours. We are water through your hands.
We are sand in your mouth."

His hand touched mine, and for a moment he was 
True. The wind came and blew him away,
A piece of dry paper, ink already fading the 
Promises he'd made. And I slipped into my skin,
Went to the sea, felt her embrace,
And dove under again.

V

Sometimes I return to this shore,
Or shores just like it, and imagine I am looking for him. 
But I think the wind stole his name, 
Or his memory; either one is 
Death to his kind. 

My name is forever here, never spoken and always asked
My belly is against these stones, 
The cold water sliding off my back. 
My heart races with the advancing fog; I linger
As another boat is shipwrecked
In the tide.

Coming Out: Sensory Sensitivity and Autism by Beth Winegarner

Photo by Darius Bashar. Creative Commons.

Photo by Darius Bashar. Creative Commons.

“When we feel vulnerable sharing something with someone, I think it’s because we are actually judging or shaming ourselves ... And then we’re afraid the other person will as well. We’re afraid they will confirm our worst fears about ourselves. That’s why it’s scary. We fear their rejection because we’re really fearing our own rejection of ourselves.” —Kara Loewenthiel

“The reward for conformity is that everyone likes you but yourself.” —Rita Mae Brown


I have sensory processing disorder, and I’m (probably) on the autism spectrum

I was formally diagnosed with SPD in 2014, but I’ve been sensitive to certain kinds of sensory input my whole life. I have not been formally diagnosed with autism, about which I’ll say more in a bit. 

As a small child, I first noticed my sensory sensitivity when I was trying to sleep. Even a small amount of light coming in from under the door, or noises or voices from another room, were enough to keep my brain on high alert, making it impossible to relax. Even if I did fall asleep, I’d wake to any unexpected stimulus, making for a lifetime of restless nights. During the day, the sunlight seemed so bright it hurt. Even sunglasses often weren’t enough. I’d squint and squint until my eyes closed in protest. 

I sought out some kinds of touch, including firm hugs and back scratching, and avoided others -- tickling, itchy fabrics, tags in my clothes. I found I also couldn’t sleep unless I had a lot of heavy blankets on me, even in hot weather; it would be years before weighted blankets became something you could buy easily. 

Too much sound, whether it was overlapping loud voices or the TV at high volume, could make me anxious. I would feel scared, and burst into tears for seemingly no reason. I couldn’t find things unless I already knew where they were -- looking for something in a crowded or unexpected visual field was impossible and left me feeling blind and stupid. 

For most of my life, I simultaneously held two beliefs about all this: one, that everyone was like this. And two, that I was somehow making it up, because the grownups around me kept telling me that it was impossible for me to be as sensitive as I was, and I should just try to ignore sensory input I didn’t like. That’s what they did. Trying to hold both feelings made me really, really confused. 

In the early 2000s, a friend recommended I read Sharon Heller’s book Too Loud, Too Bright, Too Fast, Too Tight.. In it, Heller describes what was then called “sensory defensiveness,” a condition in which the brain and nervous system have trouble filtering out “irrelevant” stimuli. To some of us, every sound, touch and movement out of the corner of our eye could be important, even potentially dangerous, and we are on alert all the time. But living this way, especially in our modern and chaotic world, can quickly make us overwhelmed. We can become anxious and fearful, or even have meltdowns like overtired toddlers. We can’t ignore sensory input we don’t like, because our brains don’t work that way.

Reading Heller’s book helped me make sense of my whole life up to that point. I was massively relieved to know that I wasn’t alone. And she included a range of exercises and other sensory input -- running, swinging, spinning, rocking, deep joint pressure, music, soft and textured things to touch, weighted blankets and so much more -- that I could use to keep my nervous system calmer. 

SPD is different for almost everyone who experiences it (currently estimated to be 5-15% of the population). It looks at eight different senses: sight, smell, touch, taste, and sound, plus vestibular (the sense that helps us balance), proprioceptive (the sense that tells us where our bodies are in space) and interoceptive (the sense of what’s going on inside our bodies). Most people with sensory sensitivities are more sensitive in at least one of these senses, but may also be under-sensitive in others, or may specifically seek out certain sensory stimuli to soothe themselves. 

For me, I’m most hypersensitive to sound, visuals, interoception and touch. My senses of taste and smell are reasonably average. I’m under-sensitive in the proprioceptive sense, which often makes me clumsy, and knowing this, I steer more widely of people and objects than I often need to. I seek out certain kinds of sensory input from sound (my favorite kinds of music), visuals (pretty images often help soothe me, and a good immersive movie or TV show that combines visuals/good sound is great), and touch or physical activity: massage, heavy blankets, pilates, walking, rocking in a rocking chair, swinging on a swing, squeezing a stress ball, petting a reversible-sequin pillow, doing yardwork that gets a lot of pressure into my joints. 

(Some of you may recall that I also have fibromyalgia. Frustratingly, the amount of physical sensation/movement I need to calm my nervous system exceeds the amount of movement I can do before I’ll go into a pain flare. For extra irony, the stress and anxiety I experience as a sensory-sensitive person in the world probably contributes to my chronic pain, but overdoing it on exercise doesn’t calm down my pain, even if it calms my nervous system.)

In Heller’s book, she mentions that sensory defensiveness (now more routinely called sensory processing disorder) is often a part of autism. In fact, it’s a key piece of the autism diagnosis. But not everyone who experiences sensory processing disorder is on the autism spectrum, as some research is beginning to show. That research also strongly suggests that people with SPD have unique cerebral structures, with fewer connections in the parts of the brain that handle basic sensory information. 

Heller’s book made me wonder if I could also be on the autism spectrum. If so, it would help me make sense of a number of ways my brain seems to work differently. For example, I tend to think people mean exactly what they say, and for years this made me especially vulnerable to pranks or people saying the opposite of what they meant. If I said “can I come in?” and someone jokingly said “no,” I thought they meant it, and I’d be crushed. I also don’t easily recognize when someone’s statements have subtext or are disguising an ulterior motive. I’ve also been vulnerable to narcissists, people who brag about themselves constantly. To me they seem incredibly accomplished and also quite friendly. Meanwhile, others are running away from them. 

I was always shy and socially awkward, especially as a kid. I couldn’t bear to make eye contact with people. I needed everything to be in the same place much of the time, needed my schedule to be as consistent as possible. I didn’t handle transitions well (and often still don’t; bosses have dinged me for “not being more flexible” when asked to change tasks). Play-acting and imaginative games make me intensely uncomfortable. And, although I wasn’t interested in trucks or dinosaurs as a little kid, I became obsessed with music, bands, and pop culture by my tween years. 

The neurologist who confirmed my sensory processing disorder in 2014 also assessed me for autism, and concluded that either I am not on the spectrum, or if I am, it’s not disabling for me. This was decided largely on the basis of the fact that I am a fairly socially adept adult, able to engage in reciprocal conversation. 

But in recent years we’ve seen more and more research on how autism presents differently in girls and women. Some autistic girls learn to hide their social ineptness by copying their peers, a practice that’s known as “masking.” Masking may be undetectable to others, but it’s exhausting for girls and women who do it. Like Jennifer, in the article, I vastly prefer to communicate in writing/text/online, rather than on the phone or face to face, because the latter forms can often overwhelm my senses, and I get tired or have a hard time following the conversation. 

I’ve been masking since I was a girl. It is exhausting. But it doesn’t often show. So it’s no wonder my neurologist wasn’t convinced that I am on the spectrum. 

But there are days when I forget the politenessess, and the first thing that comes out of my mouth isn’t a “Hi, how are you?” or some other pleasantry, it’s a brusque request or demand. Most of the time, I haven’t got a clue what other people’s motivations are, what’s going on inside their minds or what their body language is trying to convey. I hate April Fool’s Day because I fall for everything. In a new environment, I have trouble relaxing unless I know the plan for the day. I try to plan everything well ahead of time, and go over and over my schedule so there are no surprises. I can’t count the number of times I’ve burst into tears because a restaurant I planned to eat at was closed, an item I wasn’t to buy wasn’t on the shelf, or something else didn’t go as expected. 

For the sake of science, my neurologist tested me for a microduplication on chromosome 16 -- called the 16p11.2 microduplication -- which is often found in people with autism, sensory processing disorder and similar divergences. I tested positive. 

Shortly after reading Heller’s book -- but before I had any formal diagnoses -- I tried being more open about myself. Unfortunately, I was met with a lot of derision. One friend asked why I felt the need to “pathologize” myself. Another suddenly acted as though I was seriously mentally impaired. So I’ve hidden myself, for the most part, since then. 

But more and more public figures are being open about their autism diagnoses, including comedian Hannah Gadsby and activist Greta Thunberg. They too face their share of backlash, but more often than not they’re met with admiration. And Gadsby, in her new show Douglas, talks about something I’ve often stressed: these conditions don’t feel like diseases or disorders, but genetic differences that would once have made us valuable to our tribes. In particular, sensory sensitivity would have made us the first to notice an approaching predator, or taste something spoiled in our food that could make everyone sick. 

I consider these conditions as part of humanity’s genetic diversity. I don’t think we need to be “cured,” as some organizations do. Some of us may need accommodations to make our lives and workplaces more sensory-friendly: quiet spaces to focus and work, lights that dim or turn off, scent-free policies, fabric options for jobs that require uniforms, a variety of chairs for people who focus better when they can bounce or spin, and so on. These days, I avoid restaurants and other public spaces that are too noisy, I wear earplug-style earbuds when I’m out and about, and wish I could refuse to get into Lyfts that are full of the scent of cologne or air freshener. Small changes like this could make life a lot more livable for adults and kids like me. 

For many of us on the spectrum, the problem isn’t our minds. It’s the fact that society is too fast, too loud, too bright, too rigid, too much. Our differences are not accommodated, in much the same way that people with wheelchairs weren’t as well accommodated before the passage of the Americans with Disabilities Act. We are expected to hide our differences, fit in, assimilate. But biologically, many can’t. It would be great if we could embrace and make room for that. 

April is autism awareness month.

Poem A Week: The Creeks Are Full by Beth Winegarner

Photo by Jan Tinneberg. Creative Commons.

Photo by Jan Tinneberg. Creative Commons.

In early spring, when the air warms
and turns bright with new petals,
pink and gold, pollen-furred,
you, city boy, raised among
skyscrapers and suburbs, take razor
to your entire massive head.
Cut away the grizzled, whorled
whiskers, maskers of hard smiles.
Cut away the thicket of dark hair
beneath which your crown has kept
its cold secrets since All Hallows.
The sky-dome of your cranium
glistens like new velvet.
The bare fortress of your jaw reverberates
with the muffled cannon-fire
of your throat's each word.
The moonlight sculpts your full face now,
its prominences and valleys.
You emerge, as a bear from its snug
winter cave, hungry and ready to hunt.

Poem A Week: The Way Up by Beth Winegarner

bougainvillea_petals_mixed_ml.jpeg

Sun-bleached bougainvillea petals
pile up along the fenceline
like obsolete coins or the scales
of some iridescent fish. In a dream
an enormous carp leaped out of
a clear lake and into my arms,
wriggled its mighty muscles and
dove back into the water. What
was it for? Luck? Long life?
I may find out, if I reach the top
of this ridge lined with dried
eucalyptus leaves, tan and tough
and scattered like feathers
on the angelback of the mountain.

Poem A Week: The Farewell To Music by Beth Winegarner

carolan.jpg

Listen to the song that inspired this poem.

How comes an ancient bard by firelight,
How comes the ringing that rushes the ears,
How tired these fingers, how frosty this heart
As the harp nestles into the shoulder's cradle,
And the music bleeds to life

Bells and dusk, the honey wine and cheers
No longer turn the years away
The blaze in your blood
Fades to a shudder, fades still
But they are rapt and counting
On you their attention lingers.

As your hands go to threads of brass
And pull them tightly into songs,
They wonder how a blind man finds a voice
That could burn cold castles to the ground.

Between the notes you gasp
And strain to hear.
Is anyone there,
Do they silence their breath?
Or is your audience this night composed
Of the hosts of fay, await with chariots of light?

From blind forests cries your closing tune,
A thing of pure ecstasy, knowing
That as its last refrains ring free from the cairns
You will be dancing with the sidhe,
Free of this terrible harp's pox.

And so your fingers lift once more,
Raging like Uaithne's sonic spellcraft
Which this time poisons your own mind.
Note after devastating note you finger your fate,
Each triplet imploring the Morrigan to dance.

For a moment longer you are entangled
In the filigreed edges of Ireland's last cry.
And then the strings melt beneath your touch,
Flooding golden into your veins, pumping your heart,
Becoming you as you become the melody.

Your body, shining white as the moon's burn,
Fades to the fire, leaving only crescent shadows.
The stairs, ascended by halves, carry you to the sky
Where your bones are scorched clean by gleaming ravens
And your eyes, for the first time since childhood, find the light.

(For Turlough O’Carolan)

Poem A Week: Inanna Thinks by Beth Winegarner

Ancient Akkadian cylinder seal depicting Inanna resting her foot on the back of a lion while Ninshubur stands in front of her paying obeisance, c. 2334 – c. 2154 BC.

Ancient Akkadian cylinder seal depicting Inanna resting her foot on the back of a lion while Ninshubur stands in front of her paying obeisance, c. 2334 – c. 2154 BC.

It's not so much that I descended
into the earth as that
I became the earth.
In that time Heaven exhaled its breath
into the lungs of the land
and you could not separate the two.
Back then I walked among crops
fed by two fertile rivers
whose names are now the mantras of history books
but otherwise unmentioned.
Now the ground is as dry as the dust
one of their gods — I forget his name —
said the people would return to.
They deny their own end,
every day shouting and firing their guns
as though their vacant blood
will nourish the land,
as though it matters whose footsteps
running through the streets
of Baghdad, of Babylon, of Sumer
will awaken me.