Shorty’s Chair

“Only take care, and keep your soul diligently, lest you forget the things that your eyes have seen, and lest they depart from your heart all the days of your life. Make them known to your children and your children’s children.” Deuteronomy 4:9 ESV

It will soon be Thanksgiving and many of us will gather in homes across the country, making way for hospitality, for extras to feast with us, telling stories of the past, reminiscing, taking time to thank the Lord for family, food, and all life’s blessings past, present and future. To celebrate, we use all available chairs around our dining tables—even the less comfortable ones. I have a story about one such chair at our house.

There are a few things that tether our Jessamine County Kentucky farm with my Plasters family’s farm lying 278 miles westward near Cave Township in Franklin County, Illinois. One fact I just discovered as I researched this writing is that both farms are in the 37th Parallel North, which is referred to by some as “The Paranormal Highway.”

But the connector that prompted this telling is one that has traversed the path eastward from Illinois to Kentucky. We call it “Shorty’s Chair.” It is a plain small ladderback wooden chair with a woven seat. There is a mysterious dip in the top slat of the chair. Dad told me it is where his uncle Shorty would sit in the chair backwards, one leg on each side straddling the seat, in front of the potbellied wood stove in the old Illinois farmhouse, as Shorty’s chin (or mouth?) created that hollow top of the chair. (I have sat on it to test the theory, and it is possible.)

 

Shorty’s old chair in the Illinois farmhouse

Shorty was a lifelong bachelor and World War 1 veteran. His real name was Elmus Plasters and he cared for his mother, Malissia, my great grandmother, until her death in 1963.

Shorty’s military marker

Her tombstone says she was born in 1864 and died in 1963. We have a newspaper clipping celebrating her 100th birthday…maybe our family gets our dates mixed up sometimes :)?

The only encounter I remember with Malissia was my first recollected introduction to the Illinois farmstead. As I look at the dates, I would have only been about 3 ½ years old, but it etched a memory in me that is still present; likely because I was a bit terrified. My Dad and I entered through one of the two front doors from the front porch. The house was old and smelled strange to me. Uncle Shorty was sitting by the fire and there was a bed over in the corner of the room. On it was a lady under a lump of covers. I could discern no face, but I heard her turning back and forth. She was moaning. Dad told me later that he remembered that his grandma would moan in pain and Shorty would have to say, “Ma, we don’t have money to buy any more aspirin.” I recall the hand and presence of my father as the only discernably familiar spot in that home. I was as equally troubled by the presence of a bed in a living room as I was with the faceless moaning woman in the corner. And Shorty was strange too. From his small chair his face was nearer to my face as any grownup man that I remembered meeting. Also, his southern, nasal country talk was alien to my little toddler ears.

Malissia and Robert with their dog Nell in the side yard of the old Illinois farmhouse, likely one of them is sitting in “Shorty’s” chair

I must have said I was thirsty and I was escorted into the kitchen where there was a metal pan sitting on a wooden stool with a carved-out gourd on it. That was the “common gourd.” Everyone sipped from it like the common chalice in an Anglican communion line. I learned later that they had dipped that water from a well out back. Indeed, as I look back, it seemed like a 37th Parallel Highway moment.

Shorty lived on in the family farmhouse until the early 1970’s. When Uncle Shorty got sick and had to go to a hospital my dad arranged to buy the family farm as a summer place for us; part of the money was to help pay for Shorty’s hospital bills. Dad’s memories were there and, in the house just around the corner, and one down the street. Uncles and aunts had dotted that small area of land for years. The earliest ancestor, John Plasters, obtained the acreage in the 1850’s as payment for his service in the military. The subsequent family line had farmed the acreage until our purchase of it.

Great Grandma Malissia with her chickens at the Illinois farm

When we got the farmhouse Mom and Dad worked hard to give it a semblance of new life, but a few artifacts remained—one of them was Shorty’s chair. We summered and weekended there as a family. That chair was witness to my teenage vacations and to Christmas Eve 1977 when I brought my Mississippi boyfriend, Hule, there and he got down on his knees and proposed to me. It also stood sentry in the living room when we returned six months later to spend a portion of our honeymoon.

Renovating the Illinois farmhouse living room: Me (“Lori”) with my younger sister Marcia and little brother Eric. The corner you see is where Great Grandma Malissia’s bed was.

There came a time when that house disintegrated enough that it had to be torn down. We still have the farm, and a different house stands where it stood. My dad salvaged Shorty’s chair as one of his precious heirlooms. He brought it up to our Springfield, IL home. Dad’s dream was to live full-time in a small Thoreauesque cabin at the farm with only a fire, a chair, and one hook for his clothing. Shorty’s chair represented that never-realized dream.

My dad relaxing by the wood-stove in the Illinois farmhouse living room after the remodel

For Dad’s gift one year Mom arranged for the seat of Shorty’s chair to be re-woven because it was quite worn. Some years later, as my mom didn’t have much room for it in her house, she gifted it to me. It now sits in the modest home of our Jessamine farm. It is used mostly when extra guests come and we run out of the upholstered, more comfortable seating. But it sits there as an icon—full of symbol and meaning and memory, linking our past to our present and future on this rural landscape situated in the shared 37th Parallel North.

Shorty’s chair in our Kentucky farm living room by our wood-stove

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“I remember the days of old; I meditate on all that you have done; I ponder the work of your hands.” Psalm 143:5 ESV

 

The old Illinois farmhouse painted by my daughter Sarah Jo Goddard

Family Photos

The Goddard Easter photo of 2024

For us, Easter is the perfect time to take a yearly family photograph. We are already “dressed up” for church and often a beautiful backdrop of spring flowers, a canopy of birds, warm sun, cool breeze, and freshly mown lawn sit ready in the front yard for the occasion.

I am currently the volunteer photographer in our family. There is one of us in every group; someone with determination and conviction strong enough to weather protests, moans, and eye rolls of many a reluctant participant. Whether invited or dreaded, we familial paparazzi emerge as mini dictators for a few short minutes during the photo shoot and then slink back into place after the negotiations and battles have settled.

This is the quintessential “line up” type of picture. I discovered early in the process that I had to capture just the right moment to stage the photo. It is best for us after church but before the noon meal. That way we are not yet dotted with drips of veggie casserole and honey ham juices, and we haven’t put on stretch pants necessary to accommodate bulging waistlines. The kids will later start begging to go look for eggs in the yard and to eat the ears off their giant hollow chocolate bunnies.

I call this photo op “seizing the day” or “carpe diem” as the Roman poet Horace put it. Who knows what’s ahead and how many other celebrations we will have all together.  After this year someone’s image might drop out, temporarily or permanently. Children grow up. Marriages break up. Some move away. Others pass on. There will never be another today.

We have hundreds of similar photos of ourselves or relatives from generations past, and I treasure them. What people wear, their expressions, interactions, who stands next to whom, the car, house, yard, tree, or pet in the background are all things captured at this unique point on our communal timeline.  There is a necessary moment of closeness required. Often touching, we gather like little chicks under a hen’s wing, uniting for one purpose, warming ourselves briefly near the fire of family.

Each picture tells a story. Sometimes there is an undercurrent, a back story, that can only be known to the participants. That is why every photo requires a photographer, a storyteller, a listener, and someone to pass on to the next generations what cannot be caught by the camera lens.

 

This is a photo of our family at Easter two years ago. In this one Andrew is absent. We all look happy. Julianne and Matt have moved back to Kentucky from Washington with their family for Julianne to complete her PhD in Physics. I, Grandma Loretta, and Papa Hule soak in the joy of our family reuniting. Hazel is glad to be the center of attention. Jude finds his happy place in Momma’s skirt. He is unwilling to give us his face today. Sarah, our artist daughter, is home from Oregon for a while, but without Andrew. Living in our cozy attic, she soaks in sister-time, auntie crafts, and long, safe, healing bluegrass walks out back in wildflower fields.

For the click of a camera, we put on smiles. The priceless capturing of time, space, place, and face has been plucked from a precise moment never to be re-lived. Our cheerful expressions tell a true story, but not the whole story. I have “carp-ed” the big fat diem with my iPhone and printer. Now, it is time for other family storytellers to do their part.

(*This writing was done in a writers’ workshop at The Berry Center in New Castle, KY, taught by Georgia Green Stamper, author of Small Acreages, New and Collected Essays. She is a terrific writer and teacher! Thank you Georgia and Berry Center!)