My writing life was blessed and changed by editor and publisher, Philip Martin. His death-by-cancer in early 2019 precipitated many changes. Among them, is the renovation of my website. This was my final post on the previous website, and I want to begin anew by including my reflection here:
It is with deep sadness that I share some news.
My writing journey began decades ago, but it found a path toward publication when editor/publisher Philip Martin read a very early story about Norway during WWII and encouraged me to find my way forward. After more years of learning and writing and additional research and reading and … all that goes into become a better writer… I sent a manuscript for Odin’s Promise to Phil. He guided me and that story into my debut book, and then encouraged me to work on the sequel that readers assumed would be coming, even though I did not imagine such a thing. In the four years we worked closely on the trilogy I found a friend and inspiration.
A hot day last summer was the final time I saw Phil. We met for coffee and sweets and more planning. He rubbed his curly hair proudly, his usual smile stretched to a grin, and he ate with good appetite. We discussed a potential event for spring 2019, again focused on ecology and social justice. He asked about my recent projects and said he was eager to get involved in more publishing and had new writing ideas of his own in mind.
Mostly, we caught up.
That meeting offered another dose of Phil’s steadiness, his balance of realism and optimism, his capacity to listen deeply.
Some people exude untamed energy. Phil’s energy was also obvious, but it glowed like embers: warmly, rich with promise, never threatening to overwhelm others or outshine their light.
He honored me by his interest in collaborating and seeking my advice.
Others knew him better, longer, and in more personal relationships than mine.
Still, I was Phil’s friend and he was mine.
His voice and wisdom will remain with me.
I’ll miss him.
Here is his obituary, and I ask that you read it through, as a favor to me and to the kind and wise man he was.
OBITUARY: PHILIP MARTIN
Phil passed away on March 3, 2019 at age 65. Phil traveled his cancer journey for almost two years and died after a very brief stay in hospice. He was born November 22, 1953 to Carl and Nancy (Clements) Martin.
Prior to his calling to book publishing, Phil worked in folk arts programming, education, research, and publishing. He was an important part of the Folklore Village (Ridgeway, Wis.) community for decades, serving as staff some of that time. He documented and published recordings of the music of many ethnic groups in Wisconsin and he was co-founder of the Wisconsin Folk Museum (Mount Horeb, Wis.).
Later in his career he focused on his passion for indie book publishing, editing, and writing. He founded the nonprofit book publishing house Midwest Traditions and later his own company Great Lakes Literary where he skillfully and gently edited and guided emerging book writers.
He authored several books: Farmhouse Fiddlers, Rosemaling in the Upper Midwest, A Guide to Fantasy Literature, How to Write Your Best Story. And he edited the anthologies The Writer’s Guide to Fantasy Literature, The New Writer’s Handbook, My Midwest. He had begun writing a book on neighboring. He served as manager at the nonprofit organizations Rethinking Schools, Alzheimer’s Association, and Sienna Retreat Center as well as Kalmbach Publishing and Odyssey Marine Exploration.Phil volunteered at his church First Unitarian Society of Milwaukee, focusing on communications and marketing. He also volunteered in a wide range of ways at Folklore Village years ago, from serving on the board to being a lead member of the landscaping committee.
Phil was passionate about playing soccer and loved cross-country skiing deep in the woods. He was a great and adventurous cook and generous host. He enjoyed hiking and camping, especially along Lake Superior and in the Rockies. He was a wonderfully intuitive traditional Scandinavian fiddler and was Jean’s favorite dance partner for any Scan dance or Wisconsin polka.
Phil celebrated and created beauty and love in this world. He had a reverence for the natural world and was awed by the kindness of humanity. He was gentle and warm, a deep holistic thinker who aimed for excellence and integrity in all his relationships with people and his work.
Dutton Books for Young Readers, Hardcover, 9781101994856, 304pp.
Publication Date: May 2, 2017
Writers debate the pros and cons of including prologues, especially in books for young readers. I’d advise writers mulling over that decision to read the prologues in Lauren Wolk’s Beyond the Bright Seaand also in Wolf Hollow (reviewed here). In each, she sets a high bar for their use. Snippets of intriguing information are revealed through the unmistakable voices of her young female characters. Glimmers of mystery bob through those initial pages with just enough irresistible shimmer to spark curiosity and set the hook firmly in the reader’s mind.
I’m not a fisher-person, nor an islander, but I’ll extend the above analogy. It applies to Wolk’s skillful reeling in of those prologue readers. The early chapters of Beyond the Bright Sea unfold at a subdued pace, but one that manages to reveal stunning information: a newborn’s unexplained arrival on an isolated island in the North Atlantic, an austere but tender-hearted man who discovers the baby strapped to a boat and takes her as his responsibility, and a trusted neighbor woman whose steady presence anchors the unmoored pair into a sort of family. That purposeful pace sets the hook before the story accelerates.
The child, Crow, ages quickly to a preteen girl whose growing pains are largely in her heart. In those first few chapters we learn through Wolk’s skillfully side-eyed writing that Crow’s skin is darker than the other islanders, even in the summer season. They keep her at arm’s length, literally, but we share Crow’s suspicions that her skin color alone is not the reason for their distance. We also discover the blend of physical and moral strength and emotional pain of Osh, the only father she’s ever known. Miss Maggie, upright in posture, viewpoint, and resilient self-reliance, is a boundless source of security and comfort, despite her no-nonsense demeanor.
Thirty pages in, we’re fully committed to Crow, wondering with her who she really is, who would have tied her, as a baby, to a boat bench and launched her into the sea. Did her mother give her another name? Who are those “real” parents, ones she can rightly claim all the while reassuring Osh that he would always and forever be her “real” father, too? We ache with her and him when we see those questions raise his fear of losing her. We feel the tension and stakes rise as Crow learns about the nearby but long-abandoned leper colony on Penikese Island. Even now the word “leper” generates misunderstanding, but in the years following the First World War the fear about what is now known as Hansen’s disease was rampant.
With each secret revealed, Crow’s nimble mind arranges facts amid glaring gaps. Her developing theories compel her to pursue answers relentlessly, exposing her and the people she loves to unimagined dangers. The rising action never really ebbs, creating a book that exceeds the must-read label to a read-it-to-the-end-before-I-sleep story.
And that’s the way I read it, feeling the same driving compulsion that Crow felt. All the while, though, I knew I’d reread it– sooner rather than later.
And I did.
The second read was for the writer in me.
I’m not an island person, and Wolk definitely is. Even so, I’ve read other books with island settings, both classics and current ones, that took me to their worlds with vivid sensory grace. None, though, made me want to claim the island as my own.
None, until now.
Now I long to visit that little fictional, unnamed chunk of land off Cuttyhunk Island in the Elizabeths near the coast of Cape Cod. And, thanks to Wolk’s writing, I have visited it, virtually, and will again.
Her writing is as breathtakingly potent at describing physical circumstances as it is when revealing character and relationships:
“When I learned from Miss Maggie that coal squeezed by the weight of the world turned into diamonds, I looked at it differently and wondered what other rough and simple stuff held the promise of something rare.” (p.20)
“The flames in the distance, still burning in the night, had made it seem as if the sea itself had caught fire.” (p.38)
“I was so afraid of losing what I had, not sure what I could both cling to and still reach for without losing my hold.”(p.230)
In her debut novel, Wolk’s antagonist was a cunning, sociopathic girl who generated danger in a calculated way. In this novel the antagonist is a brute of a man, driven without a moral rudder by greed. His first appearance is a menacing and ominous one, achieved with a minimum of description or detail. As he reappears in successive scenes, the potential for harm escalates: to Crow, Osh, Miss Maggie and to the life Crow is beginning to understand.
I recommend this as highly as I did Wolk’s earlier Wolf Hollow, and I look forward to reading whatever she creates next.
I am a fan of Caroline Starr Rose on many levels. My fan-girl status began when I read her books, in particular the verse-novel MAY B. Since reading that amazing historical novel, I’ve subscribed to her blog, followed her on social, media, and read her other books. I’d already been a fan of verse novels, but Caroline’s work inspired me to try my hand at writing in this form, and I’m actually making progress.
As when trying anything new, and even with established skills, I seek out ways to improve and deepen my understanding of the craft. In the case of writing verse novels I’ve attended workshops, participated in webinars, and read massive numbers of outstanding titles, many of them repeatedly.
Then I came across this wonderful interview of Caroline by blogger/author Gae Polisner. [link to Gae Polisner- http://gaepolisner.com] It was first posted on Gae’s Goodreads blog in 2012, the year May B. Was released. I somehow managed to miss it then, and throughout my pursuit of advice on the genre. I recently found it and read it, so I don’t want to let this same thing happen to anyone else with a similar interest.Caroline’s insights about the craft of writing(and revising) verse novels offer wise but user-friendly coaching tools that I will now refer to often. You can click to read the entertaining and informative post from Gae and Caroline for yourself.
I highly recommend that you do, even if you aren’t writing. There is sometimes a sense that verse novels are “lesser”, since there are fewer words and much more white space on the page. That’s the way verse works, after all, yet few would say that writing (good) poems is easier than writing prose. Take that same mindful and meaningful effort on poems to the next level by crating a cohesive and compelling story, and you’ll have a sense of the challenges involved in writing verse novels.
To accomplish that effectively without losing the heart, soul, and strength of a story is, to some extent, a gift. That’s the word I’ve often used when describing Caroline: she is gifted. This conversation between Gae and Caroline will enhance the reading of verse novels, too, allowing readers to recognize that even the most gifted writer works seriously, intentionally, and intensely at their craft.
That’s what I’ve been doing, and that’s what I admire about Caroline and other masters of the craft.
Warning, readers. This is a longer post than usual, but I hope you’ll find it’s worth every word.
Many people are familiar with the adage:Think globally, act locally.
This advice, like much advice, is simple on the surface but more complex when it comes to real life. I support organizations that have proven themselves to be successful in accomplishing things globally by providing services and support locally.
I’ve supported this organization ever since, always knowing their person-to-person programs make the most of the limited dollars I could contribute.
Recently I learned about the origin story that was totally unknown to me. And again, it reached me through a picture book. In this case, it’s SEAGOING COWBOY, written by Peggy Reiff Miller and illustrated by Claire Ewart (Brethern Press, 2016)
The story is told through the voice of a young man who looks for adventure and finds a connection to people a half-a-world away. During the late 1940s the Church of the Brethern of Indiana were seeking a way to help desperate families in central Europe rebuild their lives following years of destruction during the Second World War.
An inspired Midwest community decided to provide donated breeding stock to farmers whose land and lives had been left in ruins. But their valuable horses and heifers needed to arrive in good condition. Knowledgeable “cowboys” volunteered to tend the pregnant cows and horses on their voyage from the United States to Poland and other countries most in need.
These men dealt with seasickness, storms, and the delivery of a calf named HOPE during their passage. They were met with a landscape of devastation and faces of hopefulness. The illustrations capture the mood, setting, and challenges described in Miller’s simple rhythmic text. The author included back matter (text and archival photos) that reveal further details of life aboard ship and accounts of other voyages by surviving volunteer cowboys. Her author’s note provides context for the needs addressed and the impact of those initial efforts, as well as her resources for assuring authenticity to her story. She continues to post interviews with various “Seagoing Cowboys” on her blog, here.
I’m very pleased that Peggy was willing to answer some questions for me about the origins of her origin story in this debut picture book.
Your website header says you’re a writer and historian. You also indicate you’ve been writing for many years, producing manuscripts for a variety of audiences and outlets. Why did you choose picture book format rather than a longer form to share this particular history?
PRM: I don’t think I chose the format as much as it chose me. I had started out writing a YA novel, which did get written, revised, and re-written a few times after major workshops, like a Highlights Foundation workshop and the Big Sur Children’s Writing Workshop. But the market for straight historical fiction for young adults without a fantasy element or romance went south; and agents I contacted who liked the story said they didn’t think they could sell it. So it’s resting. Parallel to writing the novel, I had gone to a Highlights Foundation workshop with Carolyn Yoder on writing nonfiction. I pitched the idea of a story to her about the seagoing cowboys and she was interested. So I wrote a piece about seagoing cowboys in general that she didn’t think was right for Highlights, but she wondered if I might be interested in rewriting it to focus on a single cowboy, which I did and which was published in Highlights for Children in October 2013. When I saw a picture book in my public library about a couple of grandfather’s sitting on a porch telling their stories, I got the idea to revise my original manuscript sent to Highlights from the viewpoint of three grandpas who went as cowboys to three different countries and call it “Grandpa Was a Seagoing Cowboy.” Brethren Press purchased that manuscript; but through the editing process, the resulting book became a quite different and more wonderful story.
Few people have heard of the post-WWII origins of the Heifer Project on which your fictionalized book is based. How did you learn about the seagoing cowboys?
PRM: I grew up in the Church of the Brethren, which started the Heifer Project in 1942. Most all involved members knew about the project and participated in some way or other–raising heifers, donating money, or transporting animals. So I had heard about seagoing cowboys as a kid, but I didn’t know that my Grandpa Abe had been one of them. After Grandpa died, my father gave me an envelope of pictures from his trip to Poland in 1946. Those pictures beckoned to me for a long time and became the impetus for my novel and the resulting research.
With so much research and so many personal stories collected, what shaped your decisions about the narrator and the cowboy in your book?
PRM: As I said, I had started out writing from the viewpoints of three grandpas telling their stories. But that was just too cumbersome, and my editor and I realized I needed to write the story from the perspective of one cowboy in the historical setting and not as a grandpa looking back in time. I decided to use an unnamed narrator who would represent “every cowboy” and add a friend so there could be a consistent companion. I’ve always been captured by John Nunemaker’s experience of finding his own family’s horse on his ship, so when I needed something to help create a storyline, I borrowed his story and named the friend John.
What goals will you use to judge your response when someone asks, “How is your book doing?”
PRM: I’ll base my response on comments I get back from readers and not on sales numbers. Brethren Press is a small press that can’t get into the large distribution networks, so I’m not anticipating mega-sales.
The book has had a wonderful reception so far by seagoing cowboys and their families, as well as members of the Church of the Brethren who share this history. Heifer International staff are excited to have this part of their history told.
One of my main goals in getting the book published was to offer a way for families of seagoing cowboys to be able to honor the service of their loved ones and share the story with succeeding generations. From the responses I’m getting, I’ve hit the mark on that one! It’s very humbling and rewarding at the same time to receive their notes of appreciation.
The mission of Heifer International, [link] includes training and the expectation of a pay-it-forward commitment from recipients. How are the principles of the current organization rooted in the original Heifer Project?
PRM: The intention of the original Heifer Project Committee and the Brethren Service Committee under which it served until incorporation in 1953, was to provide help to the neediest of farmers without regard to race, religion, or nationality. Heifer International continues to operate in that vein. And they operate on the basis of their “Twelve Cornerstones,” where each community that receives Heifer’s assistance receives training in values such as accountability, sharing and caring, gender and family focus, improved animal management, sustainability and self-reliance, etc. But the main cornerstone that makes Heifer so special and in tune with the original program is “Passing on the Gift.” To participate in the program, recipients pledge to pass on the first female offspring of their animal to another family. This gives the original receiver the dignity of becoming a giver and expands exponentially the outreach of the program. The “Pass On” ceremonies pictured on Heifer’s website are very moving.
Please tell readers about your current projects?
PRM: Always too many to get them all done! I have a Seagoing Cowboys website that I’ve recently revamped and write a regular twice-monthly blog on it about seagoing cowboy history. I’m currently working with Heifer International as a historical consultant, researching a book project on the shipments they made to Germany throughout the decade of the 1950s, helping Germany in their recovery from World War II. A writer in Germany is working on that end to find the recipients with the information I’m feeding him, document their stories, and write the book.
Outside of my work with Heifer, I’m independently working on a book about the first decade of the Heifer Project, which I’d love to have ready by Heifer’s 75th anniversary in 2019, but I have my doubts I’ll make that deadline. I’m also working on a book for adults about the seagoing cowboy history, and would like to do a middle grade nonfiction book on this topic, as well. I have another historical fiction picture book manuscript drafted related to the shipments to Germany in the 1950s, which I’m ready to start submitting. And my novel will beckon to me at some point to try again. Not to mention several other picture book manuscripts waiting for attention.
You indicated a lifelong “itch” to write, and that you’ve now found your way to embrace your writing self and find outlets to share it with readers. Do you have any advice for others who have felt (or are just now feeling) that itch to write?
PRM: If the itch is for writing for children, I’d say join SCBWI, the Society for Children’s Book Writers and Illustrators. That was one of the best things I ever did. It’s where I found my wonderful critique group, and where I’ve been able to participate in conferences to learn from other authors, editors, agents, and publishing professionals. Without the conferences and my wonderful writers group, The TaleBlazers, I wouldn’t be where I am today.
Thank you, Peggy. It’s been delightful to virtually meet you here and learn more about your own voyage to sharing these amazing stories.
I urge readers to request this book at your library or independent bookstore. Share the story on social media and help others learn about it. When the problems of the world loom so overwhelming that hopelessness rears its head, books like this one remind us that problems are solved one person at a time.
For more about the early days of this organization, check out another picture book from Brethern Press, FAITH, THE COW, written by Susan Bame Hoover and illustrated by Maggie Sykora.
Gayle Rosengren, author of COLD WAR ON MAPLEWOOD STREET, is a Wisconsin writer and a friend. This book was released in October to coincide with the anniversary date of the Cuban missile crisis and the current efforts (at that time) to re-establish diplomatic relations between the USA and Cuba.
Gayle described her book and some of the forces behind her writing of it in this post on Literary Rambles blog near the date of its release.I enjoy Gayle’s books and have no doubt that readers of any age will also become fans. She was kind enough to take time away from her writing to answer a few questions for our readers here.
SB: I loved the concept for COLD WAR ON MAPLEWOOD STREET when I first heard about it, and I loved the story even more since reading it last fall.
I, too, was a tween during the Cuban Missile crisis and remember it vividly. For people who lived through it, those years don’t feel like history, but for young readers, it easily qualifies- that was half a century ago. How would you summarize a child’s perspective on what the Cold War was all about, apart from the actual Cuban Missile Crisis?
Gayle: I think my understanding of the Cold War as a child is pretty well summed up by a popular slogan of that decade: “Better dead than red.” I remember quite clearly thinking then that there must be something wrong with me because if I had to choose between communism (whatever that even was) and death, you can bet I would choose communism! But the slogan effectively conveyed the message that the Russians (or Soviets) and communism were to be feared.
And that fear was epitomized in the threat of a nuclear attack.We had the atomic bomb, but so did the Russians.In fact, the United States and the Soviet Union had so many atomic bombs and even more powerful nuclear bombs that we were not only capable of destroying each other but of taking the rest of the world down with us.
I remember getting nervous every time I stumbled on a TV news spot of Soviet Premier Nikita Khrushchev.I don’t think he was ever smiling. He was either scowling, shouting, or on one amazing occasion (at the UN) furiously waving his shoe! These images stirred up the fear that was always smoldering inside me, ready to blaze up given the slightest encouragement. Was Premier Khrushchev’s anger a prelude to World War III?Was he going to give the order to attack us?I think it’s fair to say that children of the Cold War era grew up under a veritable mushroom cloud of fear.
SB: I remember having many of those same feelings and experiences, Gayle. During the Cold War a generation (or more) of children grew up in the shadow of possible nuclear attacks. Now an entire generation of children since September 11th have lived their lives with ongoing wars in the background. What parallels and contrasts do you see in the effects on young people living in today’s world?
Gayle: Although the fear of a nuclear attack always loomed over youngsters during the Cold War, the film footage of the attacks on Hiroshima and Nagasaki were our only visuals of it.They were horrific and created a cloud of fear that hung over us ever after, but they had happened years before and far away, and, fortunately for us, we didn’t see those films often.It was only during the week of the Cuban Missile Crisis that the cloud dropped so low and clung so tightly that it was impossible not to recall those terrible images.Then fear became a clock tick-tick-ticking ominously in the background of our days—would this second, or perhaps this one, be our last before the sky exploded? By contrast, young people today are confronted with a daily barrage of graphic horrors in films, newscasts and videos both online and on TV.If they want to badly enough, they can even watch actual beheadings! The attacks on September 11th stripped away forever the feeling that we are safe.The attacks that have followed only serve to confirm the likelihood of more in the future. Given everything, I think it must be far more frightening to grow up in today’s world than it was during the Cold War.
SB: Well said, Gayle. Let’s turn from global matters to your very personal process of writing. In other interviews you’ve said that you wrote the first draft of this story many years earlier, and it has changed focus and point of view in subsequent rewrites. Can you pinpoint anything(s) that led you to those changed perspectives?
Gayle: The horrific school shooting in Sandy Hook was the primary influence on my final draft. As frightening as potential ISIS attacks may be, I can’t help feeling that children today must have an even greater fear of harm befalling them in what should be a place second only to their own homes in terms of safety–their school. Instead of air raid drills, they now practice lockdown drills—hiding in locked rooms and closets from potential intruders bearing guns and wanting to hurt them. How terrifying must that be for students of any age but especially those in early elementary grades? This kind of terror changed my goal for Cold War from simply being a story about what should be an unforgettable event in our past, to being a book I hoped would also speak to children about growing up in our frightening present.
I wanted to write a book that talked about fear, but in a way that would not frighten my readers. I hoped that by using the Cuban Missile Crisis—an event far removed from them—I could accomplish this. My theme was the importance of communication in every significant relationship: from President Kennedy and Premier Khrushchev as world leaders, to Mr. and Mrs. Waterman as spouses, to Joanna and Sam and their mother as members of a family.
SB: Your main character, Joanna, is in a battle within herself that is as deep and difficult as the political one hanging over their heads. You did a masterful job of blending the tension of the world stage with the tension of her feelings about her brother Sam. Was that a part of the story from the beginning or did you discover it along the way?
Gayle: The breakdown of Joanna’s communication with Sam was always at the center of my vision for this story about the Cuban Missile Crisis.I wanted their relationship to be the heart of it, reflecting the results of broken promises on the world stage. I also wanted her love for Sam to be her personal connection to the crisis, a source of ever-increasing tension and ever-changing emotions toward him—adoration, anger, guilt and fear.
SB: You certainly accomplished all that and more. What do you most hope readers will take away from this book?
Gayle: I hoped readers would take away at least these two things:
First, words can be stronger than weapons.I was disturbed when I realized how many adults of today—those born in the sixties and later—didn’t have a clue about what the Cuban Missile Crisis even was!And most of the others seemed to view it as a kind of false alarm. After all, nothing happened in the end, right?But as far as I’m concerned, the fact that “nothing happened” is the most important takeaway from this event. President Kennedy and Premier Khrushchev talked.They negotiated.And by using words instead of weapons, World War III was averted.How can this not be one of the core lessons taught in social studies classes?
Second, I wanted to extend a metaphorically comforting hand to children growing up today under very different but equally frightening clouds of terror.In Cold War on Maplewood Street much of the angst and damage that resulted could have been avoided or significantly reduced by better communication.I used this as a vehicle for talking about unhealthy ways versus healthy ways to deal with fear or worry.When I give presentations at schools, I show visuals of one youngster hiding under his covers, and another one holding her stomach, as examples of unhealthy reactions to fear and worry, and I contrast them with the image of a young person confiding in an adult and being reassured.We always feel better after voicing our fears, and having someone we trust help us to put them in perspective adds even more comfort.
“Speak up! Communicate!” is the message I emphasize at my school visits.We may not be able to eliminate the sources of all our fears, but we can minimize their negative impact on our lives by talking about them with a parent, teacher, or other trusted adult.
SB: That’s a message we could all learn from and one that is worth sharing far and wide. Has anything surprised you about reader-reactions to this book?
Gayle: One of the things that surprises me most when I visit schools and children ask me questions about Cold War on Maplewood Street, is how many of them ask about Sam, wanting to know if he “is all right.”I reassure them that yes, Sam came out of the crisis unhurt, but their question reminds me of how very real the characters and their stories can be to middle grade readers–which quite happily reaffirms the reason why I write for them!
SB: Will you tell our readers a bit about your current projects?
Gayle: I just sent my latest manuscript off to my agent and am eagerly awaiting his response to it.It’s a bit different than my first two books in that the historical setting is more recent, and, while it is a family story, as both previous books are, it’s also a survival story seen from the alternating points of view of a brother and sister.Beyond that, I’m keeping mum (I’m a bit superstitious!) until I know it’s going to be published.Fingers crossed!
Well, if it doesn’t fly in the face of your superstitions, I’ll wish you the best of luck and look forward to reading your latest when it finds its publishing home. Your stories and characters stay with me and I’m sure the newest creations will be just as memorable.
Thank you, Gayle, for participating in this interview and for creating books that open doors to the past. You invite readers of any age to experience vicariously the similarities and differences of life in another time and to connect what they’ve discovered with their current lives.
Readers who want to know more about Gayle, her books, appearances, and future publications can learn more at her website.
or follow her on Twitter @GayleRosengren or FaceBook.