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Schadenfreude: when simple envy isn’t enough.”

During the Cold War, there was the joke about the English speaker (by which I mean American english) feeling superior to the Russian who did not have a word for peaceful coexistence in his Russian vocabulary, and had had to borrow “detente”. The humor lies in the truth that neither does American English; though we use the French detente — not so much since the C.W. is past — for that same deficiency in our own tongue. And so it is, I suppose with Schadenfreude.¹

It is made up of two German words: Schaden, which means “harm” or “damage,” and Freude, which means “joy.” Hence Schadenfreude is the phenomenon of taking joy or satisfaction from the bad fortune of another. A self-satisfied sort of “Told ya so!” As I’m not an etymologist, the distinctions between schadenfreude and karma are subtle. But what of schadenfreude in Agincourt?

¹ Why did this remind me of Dankmar Adler, onetime partner of architect Louis Sullivan? Adler’s mother had died in childbirth and, so, was given the name Dankmar, meaning “sweet sorrow”. How sad to be reminded each day of the circumstance of your birth. And the painful joy it had brought to another.


Florence Craig Phalen [1891-?]

[From the Community Collection, a public trust in Agincourt, Iowa]

PHALEN, Florence A. (née Craig) [1891–?]

Winter’s Eve, New Snowfall

ca. 1915

oil on board / 10 inches by 8 inches / signed

The former Florence A. Craig married John J. Phelan in 1911 and established their family in St Louis, Missouri. Mrs Phelan was, apparently, self-trained, a hobbyist who painted solely for personal satisfaction, for family and friends. This charming winter scene came into the possession of an Agincourt family related to the Phalens.

The painting is an example of Arts & Crafts simplicity displayed in an Aesthetic Movement frame of twenty-five years earlier. Since one movement grew from the other, the relationship is entirely appropriate. This is on anonymous long-term loan to the collection.

On Writing

“Cipher 10” and “Cipher 11” by Federico Cortese / drawing / 11.8 by 11.8 inches each

…and creating something to write about.

“[A] city is more than its physical landmarks: it is how it interacts with its people. They know a city needs more than signature buildings and retail, leisure and investment opportunities. It needs remembered pasts, closely-observed presents, imagined futures, and some collision of all three. It needs maps not only of the city’s streets, but of the skies above it, the tunnels beneath it, and the rivers and canals which run through it, of the things that are there only if you listen, only if you look carefully enough, only if you read the book you now hold in your hands.” — C.D. Rose, from the Introduction to Birmingham (2020).

This pair of imaginary urban plans comes from a 2018 calendar by Italian artist Federico Cortese (born 1971) — not to be confused with another Italian artist of the same name [1829–1913], nor with the current music director of the Boston Youth Symphony Orchestra; popular name in Italy, apparently. I’m still looking for a copy of that calendar but in the meantime someone on the WWW has put all the images on pinterest. These and others in that collection are inspiration for the map I’ve been trying to create for the Agincourt city directory.

For those with an interest, I recommend Urban Geofiction. There is even a map generator at Maps Mania.


Accidents happen. Sometimes they’re intentional and made to look random. But let’s give everyone the benefit of doubt — one of the few occasions when doubt can work against the public good.

Photographs of train wrecks come up for auction frequently and are usually well beyond my budget. Images of trolley and interurban mishaps are less frequent and proportionally higher in value. That’s the way of the market. This one, of a car that ran along the Ohio shore of Lake Erie, had an opening bid of $35, too rich for a flunky faculty member. So I’m content to merely heist a jpeg.

Interurban cars like this one were made by a few companies. Their subtle differences are obvious to “rail fans” among whom I can’t yet count myself. But it does look like the sort of car the NITC would have run from Fort Dodge to Storm Lake: a hybrid, with a passenger area but also a portion set aside for freight. Despite these differences, their measurements were more or less standardized, from tack gauge to clearances, which might have useful for a company like the NITC whose “fleet” may have been mixed breed. The design of this car might have looked something like this:

Those clearances are important for designing station platforms or depots, especially like the NITC facility in downtown Agincourt, where the track passes through the building. Though, at 50’–6″, this would have protruded out each end of its shed and blocked the sidewalk a few times a day for brief periods.


“We must build one house. We must build one family.” — Congressman John Lewis


COVID vaccination has reached levels where it may be possible during these summer months to see some family reunions around Agincourt. Technically, I’m having one right now; indeed, anywhere I happen to be is a reunion of my family of one. There is the family we get, of course, but then there is the family we make. I’ve recruited a pretty awesome one, but we could still get together in the corner booth at Mango’s. What’s a “cousin”?

Reunion reminded me of a subtle shift in advertising on TV; probably in print media, too, but I don’t see much of that. What now constitutes a “family” is no longer the 1950s model presented in “Pleasantville.” I’m seeing families that look a whole lot different and, in fact, more representative of who we are. Couples that are Black and White with bi-racial children might be expected in 21st century America. But now I’m also seeing a more representative percentage of Asian-Americans. And those couples are often same-sex — actually showing affection for one another and their children. Now this is making America great.

Commercials seem directed at a broader range of age, as well as race. In fact, holiday gatherings are opportunities to extend this idea generationally, too. I’d jump at the chance to lurk in the corner of a Madison Avenue ad agency as they strategize the casting call for a shoot. The Supreme Court (certainly not the current court) allowing me to marry my husband was a landmark day in modern culture but it wasn’t real until it was used to sell me insurance or corn flakes. Or make-up (not that I’m using eye shadow these days) but cosmetics constitute a huge and lucrative market, with a broader range of skin color and hair type. Products go where the money is and advertising dollars follow suit.

I’ve tried, in my halting, myopic, aging-White-guy way to broaden Agincourt’s base, who lives there, where they come from, how they relate. But I’ve got a long way to go. And not much time to do it. But is there a tent big enough; if not, we must build it.

Stay tuned.

[Appropriately, this is entry #1500]



Pads, Paws & Claws

Osteology is the science of bones. Like most of our scientific terminology, it derives from the Greek: ὀστέον ‘bones’ and λόγος ‘study’. William Plane Pycraft [1868–1942] was renowned for his work in both osteology and zoology. But it’s the rare scientist who can share their knowledge with youngsters without “talking down” to them. Pycraft was that rarity.

One of his best publications for children was Pads, Paws & Claws, which gains some of its charm from the illustrations of his near contemporary John Edwin Noble [1876–1941]. And it is bones which seem to have bonded these two men, because Noble himself wrote about the anatomy of animals as an aid to drawing them proportionately, accurately, convincingly. Pads, Paws & Claws may be the perfect collaboration. I found and bought my first copy of the book at a flea market in Rochester, Minnesota, and it was the first of several other books illustrated by Noble, including more produced with Pycraft.

I sat down one day to expand the business life of Agincourt and realized that any rural community of modest size was likely to have a veterinarian and that “P,P&C” was the near-perfect name for a veterinary practice. “Near-perfect” because the only thing missing is hooves. And so it is that northwestern Iowa acquired its animal doctors — though I can’t at the moment tell you their names. Working on it.

Suggestions are always appreciated. As is constructive criticism.

[Hard to believe this is blog entry #1499!]

PS: Most readers will know that I find “Six degrees of Kevin Bacon” to be a pessimistic point of view; it’s usually more like two or three degrees. One of Noble’s artistic predecessors and mentors was Sir Edwin Landseer [1803–1973]. Landseer’s name was passed along to the son of a friend; that child became Sir Edwin Landseer Lutyens, renowned Edwardian architect.

The Music Scene

A long-standing dream of mine is to have sung backup in a 60s group, “Toody Lipschitz and the Dipshits“. Our first album “Loose Bowels” was premiered at the Yellow Brick Road House in Agincourt. Don’t you wish you’d been there.

Etymology 101

“The Greek word for “return” is nostos. Algos means “suffering.” So nostalgia is the suffering caused by an unappeased yearning to return. To express that fundamental notion most Europeans can utilize a word derived from the Greek (nostalgia, nostalgie) as well as other words with roots in their national languages: añoranza, say the Spaniards; saudade, say the Portuguese. In each language these words have a different semantic nuance. Often they mean only the sadness caused by the impossibility of returning to one’s country: a longing for country, for home. What in English is called “homesickness.” Or in German: Heimweh. In Dutch: heimwee. But this reduces that great notion to just its spatial element. One of the oldest European languages, Icelandic (like English) makes a distinction between two terms: söknuour: nostalgia in its general sense; and heimprá: longing for the homeland. Czechs have the Greek-derived nostalgie as well as their own noun, stesk, and their own verb; the most moving, Czech expression of love: styska se mi po tobe (“I yearn for you,” “I’m nostalgic for you”; “I cannot bear the pain of your absence”). In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don’t know what has become of you. My country is far away, and I don’t know what is happening there. Certain languages have problems with nostalgia: the French can only express it by the noun from the Greek root, and have no verb for it; they can say Je m’ennuie de toi (I miss you), but the word s’ennuyer is weak, cold — anyhow too light for so grave a feeling. The Germans rarely use the Greek-derived term Nostalgie, and tend to say Sehnsucht in speaking of the desire for an absent thing. But Sehnsucht can refer both to something that has existed and to something that has never existed (a new adventure), and therefore it does not necessarily imply the nostos idea; to include in Sehnsucht the obsession with returning would require adding a complementary phrase: Sehnsucht nach der Vergangenheit, nach der verlorenen Kindheit, nach der ersten Liebe (longing for the past, for lost childhood, for a first love).”
― Milan Kundera, Ignorance

Frank Burke [born 1947]

[From the Community Collection, a public trust in Agincourt, Iowa]

BURKE, Frank [born 1947]

“Garden Party”


oil on canvas / 3.4 inches by 11.3 inches

A British artist from Northumberland, he paints mainly in oils. Burke’s subjects include seascapes, scenes of north east life and landscapes of the Tyne River valley. He also paints historical paintings going back to the English Civil War. The “Garden Party” is a recent gift in memory of Phoebe and Sophia Tennant.

Willis W. Fahnstock [1853–1920]

[From the Community Collection, a public trust in Agincourt, Iowa]

FAHNSTOCK, Willis Winthrop [1853–1920]

Portrait of my Father / Elias Fahnstock

oil on canvas / 18.1 inches by 14.2 inches


Willis was the son of early Agincourt investor Elias Fahnstock and older brother of the community’s earliest physician Rudyard “Doc” Fahnstock. Willis studied at the Pennsylvania Academy of Art in Philadelphia — yet another connection between Agincourt and that renowned school — then returned East to the family place at New Castle, Delaware.

The portrait subject Elias Fahnstock was the first investor outside the original Founders in the Agincourt adventure, and also the founder in his own right of the village that bears the family name eight miles east. The portrait style is loosely reflective of the Newlyn School, a British artist colony on the coast of Cornwall, which Fahnstock may have visited. A second Newlyn School began operation about 2010 but is devoted to Modernism.

Descendants of the Fahnstock family have only recently donated this fine piece to the Community Collection as a memorial to their name hereabouts.