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[gentle orchestral fanfare]

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♪

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[resonant strings lead 
building orchestration]

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(male narrator) 
Welcome to Our State ,

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a production of UNC-TV

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in association 
with Our State magazine--

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for over 80 years,

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bringing readers 
the wonders of North Carolina.

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[swelling string harmonies 
reveal placid orchestration]

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On this edition...

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the emotional journey 
of a potter

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who finds himself 
in the North Carolina clay...

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and take a literary trek 
down the "sweetheart stream."

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♪

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[gentle piano melody]

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(male announcer) 
Since 1872,

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BB&T has been supporting 
the people and communities

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of North Carolina.

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From our small-town roots

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to the banking network 
you see today,

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we've always been here 
for all our clients,

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stretching from Manteo... 
to Murphy.

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We're proud of our heritage

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as the oldest bank 
in North Carolina,

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and we're very proud 
to provide funding

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for Our State .

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♪

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Quality public television 
is made possible

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through the financial 
contributions

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of viewers like you,

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who invite you to join them 
in supporting UNC-TV.

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[sparse piano chords]

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♪

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[oboe leads 
calm orchestration]

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[scraping noise]

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♪

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(man) 
People always say, oh,

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it must be just like Christmas 
opening a kiln...

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♪

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but it's not, really.

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There's a lot more anxiety

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because there's 
so much work that--

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that goes into each firing, 
each load of pots.

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♪

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It's a really private, 
personal time

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and can be really wonderful,

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but it can also be 
really pretty difficult.

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And I can't even really 
objectively see the pots

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for...about two weeks.

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♪

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Once you can let 
your expectations melt away...

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♪

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then you can actually 
look at the pot and see it.

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They, um--

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they really reveal themselves 
very slowly to you.

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♪

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The cold never bothers me...

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'cause I-- 
I grew up in New England.

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I like the cold; 
I like a real winter.

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[soft piano melody resonates]

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♪

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There are days, certainly, 
when I wake up out here

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and I wonder and I question,

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what motivated me 
to be out here?

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[strings support piano]

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♪

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And I think 
that maybe there was a--

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a small percentage

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that was running away 
from something.

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♪

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And there's days when, 
very clearly,

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I feel like I needed 
to put this space here.

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♪

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[quick whistled note]

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[animal footfalls]

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Came down to North Carolina

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to go to college 
at Guilford in Greensboro,

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talked my way into a class 
with Charlie Tefft,

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who runs the ceramic program.

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It was there that my eyes 
were really opened

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to this huge world of clay 
that exists in North Carolina.

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[oboe leads wandering piano]

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There was a potter 
named Matt Jones,

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and I started 
helping Matt fire.

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The first time 
I went into his workshop,

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there was a smell about it, 
and it has a dirt floor,

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and it was very dark,

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and something felt 
really right about it.

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[sloshing]

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I felt, and I could really 
put my head down

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and learn something.

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The apprenticeship 
at Matt Jones's

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was structured 
in the same way

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that his apprenticeships 
were structured.

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I would do chores 
like chop wood,

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mix glazes, mix clay.

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As long as I had those things 
taken care of,

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I could also make pots.

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[off-screen] 
Corey, these 
are little coffee mugs.

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They're sort of 
a variation

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of that Cole mug 
that I love

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from Sanford, 
North Carolina.

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[voice-over] 
He would throw a pot.

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That was the sort of 
small piece of perfection

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that I was striving for.

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I actually think 
that somewhere in between--

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[voice-over] 
And the rest of the day, 
I would look at that pot,

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and I would try to mimic it.

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♪

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And you need to sorta 
sacrifice your ego.

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If you can't do that, 
this type of apprenticeship

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will prove 
to be very difficult.

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Keep it a little 
wider at the top.

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[voice-over] 
It's bigger than just you.

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You're part of a whole arc.

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I worked with Matt; 
Matt worked with Mark Hewitt.

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Mark Hewitt 
was with Todd Piker.

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They were with Michael Cardew 
in England.

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Cardew was Bernard Leach's 
first apprentice.

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We're all sort of 
in it together

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and pushing 
each other forward.

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[rustling]

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North Carolina's really a-- 
a land made of clay.

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It's everywhere.

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[machine whirring]

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I can number the first time 
that I used a local clay,

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and it was 
a huge amount of work,

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and it's incredibly 
labor-intensive

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to refine it and process it.

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But it threw beautifully,

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and the color was beautiful,

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and it had all this character.

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[slapping]

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But the throwing, 
I struggle with it.

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[strings support piano melody]

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♪

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I think 
that's a funny illusion,

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that art is joy 
'cause it's not always joy.

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And I think a lot of good art 
comes from struggle...

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and there's good days, 
and there's bad days.

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♪

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The way that I throw is-- 
it's looking at older pots,

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especially older pots 
from North Carolina,

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and looking at characteristics 
of those pots.

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Since most of those pots 
were made for function,

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it was important 
that they were light,

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and so there's certain things

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that I really 
beat myself up about,

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trying to make them 
as light as possible.

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♪

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But they have to look good 
sitting--

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a nice, midcentury home 
or a modern home.

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I mean, 
that's the real challenge

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for me now, I feel, 
is the pots

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fit into a broader context 
of the world,

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not just be suited 
for a country cottage.

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[orchestration thickens]

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♪

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But every once in a while,

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it's kind of nice 
to come back to an older form.

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♪

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There's an elegance 
to a pitcher

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that I don't really 
wanna mess with.

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Instead, it's just a slow 
refinement of the form.

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[oboe leads piano]

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♪

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I mean, they had to make 
a lot of these.

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They had to be 
very proficient,

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but they still added 
a little bit of themselves

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into each one.

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They still had the touch 
of the maker.

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♪

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The technique 
that I use to decorate pots

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is called slip trailing, 
and it's an old technique.

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You can see it 
all over the world

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in all different 
pottery traditions,

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and it's something I express 
a little of myself in that,

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and that's certainly 
what people

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seem to recognize me for 
is my slip trailing.

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♪

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I grew up with both 
my mother and father,

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practicing artists.

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As long as I can remember,

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they were 
in their studios working.

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That is what I saw, 
so to be an artist,

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nobody would raise 
an eyebrow at it.

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It was like the doctor's son 
going to med school.

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♪

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Being up here every day, 
it turns into a juggling act.

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00:09:00,106 --> 00:09:02,074
♪

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[sloshing]

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00:09:04,844 --> 00:09:07,813
Certain ones need to be 
attended to at certain times,

193
00:09:07,914 --> 00:09:09,549
and they need to be decorated.

194
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These need to be glazed, 
and these need to be trimmed.

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00:09:13,119 --> 00:09:15,555
Watching the racks 
fill up with pots,

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it's really fantastic.

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♪

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00:09:19,859 --> 00:09:21,027
Hah, hah!

199
00:09:21,127 --> 00:09:22,395
What'd you ruin?

200
00:09:22,495 --> 00:09:23,829
I erased it, and--

201
00:09:23,930 --> 00:09:26,232
Well, you can just 
turn this into a leaf.

202
00:09:26,332 --> 00:09:27,967
But I tried 
to do that,

203
00:09:28,067 --> 00:09:30,036
and then it looked 
ridiculous--heh!

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00:09:30,136 --> 00:09:32,305
[sizzling]

205
00:09:33,573 --> 00:09:35,808
[indistinct talking]

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00:09:35,908 --> 00:09:37,476
(man) 
Connie and I met

207
00:09:37,577 --> 00:09:40,112
in Madison County 
at a farmers' market

208
00:09:40,212 --> 00:09:42,982
in the bottom 
of the old roller rink

209
00:09:43,082 --> 00:09:44,984
in Mars Hill...

210
00:09:46,252 --> 00:09:48,621
and she worked 
for a goat dairy

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00:09:48,721 --> 00:09:50,790
in northern Madison County.

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00:09:50,890 --> 00:09:53,125
She was selling goat cheese.

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00:09:53,225 --> 00:09:54,994
We spent that first winter

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00:09:55,094 --> 00:09:57,496
driving back and forth 
on these snowy roads--

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00:09:57,597 --> 00:10:00,967
it was the craziest winter 
that we've had in years--

216
00:10:01,067 --> 00:10:04,070
through two feet of snow.

217
00:10:04,170 --> 00:10:07,139
She's watched this go 
from an old tobacco field

218
00:10:07,239 --> 00:10:11,177
to what it is today 
and been part of that change.

219
00:10:11,277 --> 00:10:13,212
She's really hugely important.

220
00:10:13,312 --> 00:10:16,849
[horns and drums lead]

221
00:10:16,949 --> 00:10:18,985
Our year 
is broken into cycles,

222
00:10:19,085 --> 00:10:20,353
and right now,

223
00:10:20,453 --> 00:10:22,088
I've fired the kiln 
four times,

224
00:10:22,188 --> 00:10:24,156
so that's 
four different cycles.

225
00:10:24,256 --> 00:10:27,226
As I'm making the pots, 
I sort of have an idea of,

226
00:10:27,326 --> 00:10:29,795
in my head, where they're 
gonna go in the kiln.

227
00:10:29,895 --> 00:10:32,365
[off-screen] 
Let's come over 
towards me just a hair.

228
00:10:32,465 --> 00:10:33,633
That's good.

229
00:10:33,733 --> 00:10:35,134
It's OK; 
it's OK.

230
00:10:35,234 --> 00:10:37,737
[voice-over] 
It's a puzzle 
to fit them all in.

231
00:10:37,837 --> 00:10:39,472
[harp leads]

232
00:10:39,572 --> 00:10:41,774
[off-screen] 
I think the short, 
fat one, yeah--

233
00:10:41,874 --> 00:10:43,376
bring-- 
bring me that one.

234
00:10:43,476 --> 00:10:45,111
[voice-over] 
For the most part,

235
00:10:45,211 --> 00:10:46,846
pots farther back 
in the kiln

236
00:10:46,946 --> 00:10:49,048
have more decoration, 
more glaze.

237
00:10:49,148 --> 00:10:51,817
♪

238
00:10:51,917 --> 00:10:54,487
The farther you are 
in the front of the kiln,

239
00:10:54,587 --> 00:10:57,757
the more ash and salt the pots 
are gonna have on them

240
00:10:57,857 --> 00:11:00,826
because the hottest part 
of the kiln is in the front,

241
00:11:00,926 --> 00:11:03,696
so they don't need 
as much surface decoration,

242
00:11:03,796 --> 00:11:05,297
but the form is important,

243
00:11:05,398 --> 00:11:07,033
but then, 
the form will interact

244
00:11:07,133 --> 00:11:08,634
with the ash deposit

245
00:11:08,734 --> 00:11:10,703
that the flame 
will put on them.

246
00:11:10,803 --> 00:11:14,473
So that relies on the fire 
to do all of the work.

247
00:11:14,573 --> 00:11:16,542
♪

248
00:11:16,642 --> 00:11:19,679
Well, that's the most intense 
moment because you've got

249
00:11:19,779 --> 00:11:22,348
two or three months 
of work behind you,

250
00:11:22,448 --> 00:11:24,850
and you load it into the kiln,

251
00:11:24,950 --> 00:11:28,721
and then, you sorta 
step back away from it.

252
00:11:29,989 --> 00:11:32,124
[wood snapping]

253
00:11:32,224 --> 00:11:35,728
There is an element 
of serendipity and chance

254
00:11:35,828 --> 00:11:37,730
that you have in that process

255
00:11:37,830 --> 00:11:40,633
that doesn't exist in many 
other artistic processes.

256
00:11:40,733 --> 00:11:43,636
[strings hold high note]

257
00:11:43,736 --> 00:11:45,705
I still have control, 
but there's certainly

258
00:11:45,805 --> 00:11:48,374
a lotta things 
that are happening in the kiln

259
00:11:48,474 --> 00:11:50,710
that you don't have 
control over.

260
00:11:50,810 --> 00:11:52,745
[bells lead 
as arrangement swells]

261
00:11:52,845 --> 00:11:54,980
[fire crackling]

262
00:11:55,081 --> 00:11:59,852
♪

263
00:11:59,952 --> 00:12:02,655
[sustained violin chord]

264
00:12:02,755 --> 00:12:05,124
I think, 
in my situation,

265
00:12:05,224 --> 00:12:09,729
I had to kind of run away 
to find myself.

266
00:12:09,829 --> 00:12:12,465
[piano melody emerges]

267
00:12:12,565 --> 00:12:14,200
So, my family history,

268
00:12:14,300 --> 00:12:18,104
if we wanna talk 
about my family history...

269
00:12:18,204 --> 00:12:21,407
is Henri Matisse, um,

270
00:12:21,507 --> 00:12:25,611
the painter, 
who had some children,

271
00:12:25,711 --> 00:12:29,882
one of whom was Pierre, 
who's my grandfather.

272
00:12:29,982 --> 00:12:32,485
I grew up 
with this stuff around me.

273
00:12:32,585 --> 00:12:37,156
I mean, it was just 
an everyday part of our lives.

274
00:12:37,256 --> 00:12:40,860
We never talked about Henri.

275
00:12:40,960 --> 00:12:45,965
It was always sort of 
a great elephant in the room.

276
00:12:46,065 --> 00:12:50,503
There's a-- 
a power behind it that, um--

277
00:12:50,603 --> 00:12:53,172
that certainly 
doesn't go away,

278
00:12:53,272 --> 00:12:57,309
and every time 
you walk through an exhibit,

279
00:12:57,409 --> 00:12:59,879
it always kinda 
leaves me speechless

280
00:12:59,979 --> 00:13:03,582
because what-- 
what do you do in that wake

281
00:13:03,682 --> 00:13:06,552
when that's always behind you?

282
00:13:06,652 --> 00:13:08,387
[fire crackling]

283
00:13:08,487 --> 00:13:10,422
There are times when it feels

284
00:13:10,523 --> 00:13:13,159
like the shadow 
that's cast by those figures

285
00:13:13,259 --> 00:13:17,530
is kind of too broad to ever 
get out from underneath...

286
00:13:17,630 --> 00:13:19,632
[oboe leads]

287
00:13:19,732 --> 00:13:22,902
but nothing that, I think, 
putting your head down

288
00:13:23,002 --> 00:13:25,671
and getting to work 
won't resolve.

289
00:13:25,771 --> 00:13:29,608
♪

290
00:13:29,708 --> 00:13:33,445
And being here 
sort of pushed me forward

291
00:13:33,546 --> 00:13:37,650
to make the best work 
that I can make.

292
00:13:38,918 --> 00:13:42,188
It didn't really matter 
what my last name was

293
00:13:42,288 --> 00:13:44,523
because people 
started to recognize me

294
00:13:44,623 --> 00:13:46,525
for what I was doing.

295
00:13:46,625 --> 00:13:53,399
♪

296
00:13:53,499 --> 00:13:56,001
[fire roaring]

297
00:13:57,636 --> 00:14:00,906
So this is the third 
and final day of the firing.

298
00:14:01,006 --> 00:14:03,409
[machine humming]

299
00:14:03,509 --> 00:14:05,277
[off-screen] 
It's good.

300
00:14:05,377 --> 00:14:07,446
Enough.

301
00:14:07,546 --> 00:14:08,814
[machine ceases]

302
00:14:08,914 --> 00:14:11,951
Right now, we're at top 
temperature in the front.

303
00:14:12,051 --> 00:14:13,686
The clay is mature; 
it's done.

304
00:14:13,786 --> 00:14:15,988
We're just building up 
ash deposits on the clay,

305
00:14:16,088 --> 00:14:18,424
building up the character 
of the clay body.

306
00:14:18,524 --> 00:14:21,026
Right now, Josh is stoking, 
and the door's open,

307
00:14:21,126 --> 00:14:22,595
so the temperature's dropping.

308
00:14:22,695 --> 00:14:24,730
As he stokes, 
it'll take a minute.

309
00:14:24,830 --> 00:14:27,032
There's always a lag.

310
00:14:30,069 --> 00:14:32,071
And as it's catching, 
right in the beginning,

311
00:14:32,171 --> 00:14:33,839
the kiln 
will go into reduction,

312
00:14:33,939 --> 00:14:36,742
meaning there's too much fuel 
and not enough oxygen,

313
00:14:36,842 --> 00:14:39,011
but as that fuel 
starts to burn,

314
00:14:39,111 --> 00:14:40,913
then we'll see 
the temperature

315
00:14:41,013 --> 00:14:43,782
start to go up, 
as it is.

316
00:14:43,883 --> 00:14:45,651
And this kiln 
is very responsive.

317
00:14:45,751 --> 00:14:47,920
It also depends 
on the wood you're burning.

318
00:14:48,020 --> 00:14:50,122
This wood is mostly pine 
and poplar,

319
00:14:50,222 --> 00:14:52,358
and it's been drying 
for about three months,

320
00:14:52,458 --> 00:14:54,393
so it's really dry.

321
00:14:54,493 --> 00:14:56,595
It's ready to burn.

322
00:14:58,530 --> 00:15:00,532
So after a stoke 
in the front,

323
00:15:00,633 --> 00:15:03,936
you'll see a huge flame 
coming out the chimney.

324
00:15:04,036 --> 00:15:06,272
Once that flame 
comes back into the chimney,

325
00:15:06,372 --> 00:15:07,873
then, you know, 
the atmosphere--

326
00:15:07,973 --> 00:15:09,742
it's kind of cleared up 
in there--

327
00:15:09,842 --> 00:15:11,610
the back is ready for a stoke.

328
00:15:11,710 --> 00:15:12,978
OK, go ahead?

329
00:15:13,078 --> 00:15:14,246
(Matisse) 
Yup.

330
00:15:14,346 --> 00:15:15,981
[voice-over] 
It's important in the back

331
00:15:16,081 --> 00:15:18,050
because that's where 
all the glazed ware is.

332
00:15:18,150 --> 00:15:19,652
It's important 
to get temperature

333
00:15:19,752 --> 00:15:21,253
so the glazes will melt,

334
00:15:21,353 --> 00:15:23,822
and I formulate my glazes 
to be a little stiffer

335
00:15:23,923 --> 00:15:25,557
because this kiln gets so hot,

336
00:15:25,658 --> 00:15:27,626
and you need it 
to be really hot

337
00:15:27,726 --> 00:15:29,895
to get that temperature 
in the back.

338
00:15:29,995 --> 00:15:31,931
[piano leads 
calm orchestration]

339
00:15:32,031 --> 00:15:33,899
♪

340
00:15:33,999 --> 00:15:36,535
Once in a while, 
towards the end of a firing,

341
00:15:36,635 --> 00:15:39,438
I'll pull out a cup or 
so 
mething small from the front.

342
00:15:39,538 --> 00:15:41,473
♪

343
00:15:41,573 --> 00:15:43,542
I'm never actually 
in love with the pots

344
00:15:43,642 --> 00:15:45,611
that I pull out 
because a lot happens

345
00:15:45,711 --> 00:15:47,346
from the time you stop firing

346
00:15:47,446 --> 00:15:49,648
to the time 
they come out of the kiln.

347
00:15:49,748 --> 00:15:52,751
What it does give me 
is a sense of how much ash

348
00:15:52,851 --> 00:15:55,054
and how much salt 
I have on the pots.

349
00:15:55,154 --> 00:15:57,356
This has 
a pretty thin shino on it,

350
00:15:57,456 --> 00:15:59,858
which has gotten a little 
darker in the reduction--

351
00:15:59,959 --> 00:16:01,593
the heat in the front,

352
00:16:01,694 --> 00:16:04,463
that I would like 
a little more ash on this pot,

353
00:16:04,563 --> 00:16:06,198
so I'll probably 
just keep goin'

354
00:16:06,298 --> 00:16:07,933
for another hour or two.

355
00:16:08,033 --> 00:16:10,436
[oboe leads]

356
00:16:10,536 --> 00:16:19,011
♪

357
00:16:19,111 --> 00:16:21,313
I had this sort of notion

358
00:16:21,413 --> 00:16:24,049
of wanting 
to go into the woods

359
00:16:24,149 --> 00:16:26,051
and come out and--

360
00:16:26,151 --> 00:16:28,320
and have this skill...

361
00:16:28,420 --> 00:16:30,456
♪

362
00:16:30,556 --> 00:16:33,759
and have something to-- 
to offer the world.

363
00:16:33,859 --> 00:16:37,796
I wanted to create a place 
that would eventually

364
00:16:37,896 --> 00:16:39,999
have its own energy

365
00:16:40,099 --> 00:16:42,935
and attract other people.

366
00:16:43,035 --> 00:16:44,803
It is doing that.

367
00:16:44,903 --> 00:16:47,573
It is opening itself up.

368
00:16:47,673 --> 00:16:50,275
The evolution is very slow.

369
00:16:50,376 --> 00:16:52,444
♪

370
00:16:52,544 --> 00:16:54,713
You're not gonna 
hit a point one day

371
00:16:54,813 --> 00:16:56,582
and wake up, 
and suddenly,

372
00:16:56,682 --> 00:16:58,684
you're there; 
you've arrived.

373
00:16:58,784 --> 00:17:00,919
I have to work at it.

374
00:17:01,020 --> 00:17:02,988
[bells and piano lead]

375
00:17:03,088 --> 00:17:08,160
♪

376
00:17:09,995 --> 00:17:12,164
[cascading 
acoustic guitar notes]

377
00:17:12,264 --> 00:17:16,335
♪

378
00:17:16,435 --> 00:17:19,371
It might not sound like it 
from the names,

379
00:17:19,471 --> 00:17:22,074
but right where Naked Creek 
enters Drowning Creek

380
00:17:22,174 --> 00:17:24,209
above Wagram, 
that's where one

381
00:17:24,309 --> 00:17:27,279
of eastern Carolina's 
loveliest rivers is formed,

382
00:17:27,379 --> 00:17:29,048
the Lumber River.

383
00:17:29,148 --> 00:17:31,050
♪

384
00:17:31,150 --> 00:17:34,019
In its upper reaches, 
this is its aspect:

385
00:17:34,119 --> 00:17:36,021
a thin, dark stream,

386
00:17:36,121 --> 00:17:39,291
one of short stretches 
and sharp, slaloming turns,

387
00:17:39,391 --> 00:17:41,727
bends known locally 
as "cow faces,"

388
00:17:41,827 --> 00:17:44,797
the river varying 
from 20 to 40 feet in width

389
00:17:44,897 --> 00:17:48,267
and almost always canopied 
by cypress, gum, maple,

390
00:17:48,367 --> 00:17:50,302
and occasional pine.

391
00:17:50,402 --> 00:17:52,337
In recent decades, 
the Lumber,

392
00:17:52,438 --> 00:17:53,972
particularly the upper river,

393
00:17:54,073 --> 00:17:56,141
with its black-water 
lowland look

394
00:17:56,241 --> 00:17:58,243
and its hill-country rapidity,

395
00:17:58,343 --> 00:18:02,014
has charmed many thousands 
of canoe and kayak paddlers.

396
00:18:02,114 --> 00:18:04,016
♪

397
00:18:04,116 --> 00:18:05,584
[strummed guitar chords]

398
00:18:05,684 --> 00:18:07,219
Over a century ago,

399
00:18:07,319 --> 00:18:09,288
the Riverton poet 
John Charles McNeill,

400
00:18:09,388 --> 00:18:11,056
our unofficial poet laureate

401
00:18:11,156 --> 00:18:13,959
and a favorite of 
President Theodore Roosevelt's,

402
00:18:14,059 --> 00:18:16,862
called the Lumber River 
a "sweetheart stream."

403
00:18:16,962 --> 00:18:19,465
This was his home, 
and he absolutely adored

404
00:18:19,565 --> 00:18:21,867
the river 
that ran through his boyhood

405
00:18:21,967 --> 00:18:23,702
and helped raise him.

406
00:18:23,802 --> 00:18:27,806
In 1907, the year he died 
young at the age of 33,

407
00:18:27,906 --> 00:18:29,608
he wrote 
these parting thoughts

408
00:18:29,708 --> 00:18:31,243
about the Lumber River:

409
00:18:31,343 --> 00:18:34,246
"She is a tortuous, 
delicious flirt,

410
00:18:34,346 --> 00:18:36,582
"but she does not deserve 
the punishment

411
00:18:36,682 --> 00:18:39,251
"put upon her by geographers, 
who have perverted

412
00:18:39,351 --> 00:18:41,420
"her sweet Indian name 
of 'Lumbee'

413
00:18:41,520 --> 00:18:43,322
"into something 
that suggests

414
00:18:43,422 --> 00:18:45,657
"choking sawdust, 
rotting slabs,

415
00:18:45,757 --> 00:18:49,094
and the shrill scream 
of the circular saw."

416
00:18:50,362 --> 00:18:52,731
The upside-down goblet 
on the Bible

417
00:18:52,831 --> 00:18:55,567
sits atop Temperance Hall, 
near the McNeill home,

418
00:18:55,667 --> 00:18:57,970
a brick hexagon built in 1860

419
00:18:58,070 --> 00:19:01,473
and now on the National 
Register of Historic Places.

420
00:19:01,573 --> 00:19:03,542
The Richmond Temperance 
and Literary Society

421
00:19:03,642 --> 00:19:05,544
met here regularly 
for 40 years,

422
00:19:05,644 --> 00:19:07,146
and it later served

423
00:19:07,246 --> 00:19:09,781
as part 
of the Spring Hill Academy.

424
00:19:09,882 --> 00:19:12,584
Sherman's force 
shot the place up in 1865,

425
00:19:12,684 --> 00:19:15,687
but it's still here, 
and the society still meets

426
00:19:15,787 --> 00:19:18,123
at least once a year.

427
00:19:18,223 --> 00:19:20,592
Maxton, 
a little railroad town,

428
00:19:20,692 --> 00:19:22,794
sits between the Lumber River

429
00:19:22,895 --> 00:19:25,230
and its tributary 
Shoe Heel Creek.

430
00:19:25,330 --> 00:19:28,000
In fact, the community 
was named Shoe Heel

431
00:19:28,100 --> 00:19:30,135
on two different occasions, 
but there were

432
00:19:30,235 --> 00:19:32,137
so many settlers 
of Scottish descent

433
00:19:32,237 --> 00:19:34,806
in this part 
of the Lumber River valley,

434
00:19:34,907 --> 00:19:38,310
so many folks whose names 
began with Mc or Mac,

435
00:19:38,410 --> 00:19:40,779
that the place 
became known as Mackstown

436
00:19:40,879 --> 00:19:43,782
till the post office 
resolved the name as Maxton,

437
00:19:43,882 --> 00:19:45,951
with an X in the middle.

438
00:19:46,051 --> 00:19:49,121
Here at the corner of McCaskill 
and Patterson Streets,

439
00:19:49,221 --> 00:19:53,959
Maxton boasts its own genuine 
clock-towered flatiron.

440
00:19:54,059 --> 00:19:57,029
[burbling piano notes]

441
00:19:57,129 --> 00:19:58,564
Pembroke is the home,

442
00:19:58,664 --> 00:20:01,500
the cultural and historical 
center of the Lumbee--

443
00:20:01,600 --> 00:20:03,535
at 55,000 in population,

444
00:20:03,635 --> 00:20:05,904
our state's largest tribe 
of Native Americans.

445
00:20:06,004 --> 00:20:08,373
And it is home, too, 
to a branch

446
00:20:08,473 --> 00:20:10,909
of the University 
of North Carolina.

447
00:20:11,009 --> 00:20:12,911
At the Native American 
Resource Center,

448
00:20:13,011 --> 00:20:15,647
we pay homage 
to the heritage of the Lumbee,

449
00:20:15,747 --> 00:20:18,617
and the life and legend 
of one in particular

450
00:20:18,717 --> 00:20:20,953
never fails 
to capture folks' interest

451
00:20:21,053 --> 00:20:23,689
and imagination: 
Henry Berry Lowrie.

452
00:20:23,789 --> 00:20:25,123
[dramatic arrangement]

453
00:20:25,224 --> 00:20:27,226
In the Civil War, 
Lumbees were being conscripted

454
00:20:27,326 --> 00:20:28,727
by the Confederacy

455
00:20:28,827 --> 00:20:30,896
and put to work 
building the sand ramparts

456
00:20:30,996 --> 00:20:32,664
of Fort Fisher on our coast,

457
00:20:32,764 --> 00:20:34,266
but young Lowrie resisted

458
00:20:34,366 --> 00:20:36,335
and is said to have witnessed, 
from hiding,

459
00:20:36,435 --> 00:20:39,171
the murders at the hands 
of the Confederate Home Guard

460
00:20:39,271 --> 00:20:41,240
of both his father 
and his brother.

461
00:20:41,340 --> 00:20:43,342
He swore 
he would avenge their deaths,

462
00:20:43,442 --> 00:20:46,144
and hiding out in the swamps, 
he and his gang

463
00:20:46,245 --> 00:20:48,313
robbed and raided 
during the Civil War,

464
00:20:48,413 --> 00:20:50,115
skirmishing 
with the Confederate Army

465
00:20:50,215 --> 00:20:52,618
and the Home Guard 
as Sherman advanced

466
00:20:52,718 --> 00:20:55,320
through Robeson 
in the spring of 1865.

467
00:20:55,420 --> 00:20:57,789
Lowrie kept on fighting 
during Reconstruction,

468
00:20:57,889 --> 00:20:59,758
and he was 
well and widely known

469
00:20:59,858 --> 00:21:01,393
as the Lumbee Robin Hood.

470
00:21:01,493 --> 00:21:02,828
[strings fade]

471
00:21:02,928 --> 00:21:04,196
Colonel Thomas Robeson,

472
00:21:04,296 --> 00:21:07,032
hero of the Revolutionary War 
Battle of Elizabethtown,

473
00:21:07,132 --> 00:21:09,201
is said to have opposed 
the creation

474
00:21:09,301 --> 00:21:11,870
of a new county 
to be pulled out of Bladen

475
00:21:11,970 --> 00:21:14,873
until the suggestion came 
to name it for him,

476
00:21:14,973 --> 00:21:17,876
and the idea 
then found favor in his heart.

477
00:21:17,976 --> 00:21:19,678
Robeson County's seat

478
00:21:19,778 --> 00:21:21,813
is Lumberton 
on the Lumber River,

479
00:21:21,913 --> 00:21:24,216
through and from which 
resin, pitch, tar,

480
00:21:24,316 --> 00:21:26,785
and turpentine 
have been shipped.

481
00:21:26,885 --> 00:21:30,389
Proposals in 1798 
and again in 1815

482
00:21:30,489 --> 00:21:33,425
to connect the Lumber 
and nearby Cape Fear Rivers

483
00:21:33,525 --> 00:21:35,594
by canal both failed.

484
00:21:35,694 --> 00:21:37,296
In the late 1800s,

485
00:21:37,396 --> 00:21:39,731
the timber and turpentine town 
of Lumberton

486
00:21:39,831 --> 00:21:42,567
was still sending 
hundred-foot log rafts

487
00:21:42,668 --> 00:21:44,636
downriver to Georgetown, 
South Carolina,

488
00:21:44,736 --> 00:21:46,238
where their three-man crews

489
00:21:46,338 --> 00:21:47,973
would collect $200 
for the timber

490
00:21:48,073 --> 00:21:51,343
and the two weeks' poling, 
and then walk on home.

491
00:21:52,611 --> 00:21:56,181
On the west side of the river 
just outside of town

492
00:21:56,281 --> 00:21:59,017
was a campground for wagons 
carryin' produce,

493
00:21:59,117 --> 00:22:02,421
tobacca, and whiskey, 
a spot called Mud Market.

494
00:22:02,521 --> 00:22:04,523
Old-time Lumberton 
had a reputation

495
00:22:04,623 --> 00:22:06,892
for being 
a wide-open turpentine town,

496
00:22:06,992 --> 00:22:08,627
but you might not know it

497
00:22:08,727 --> 00:22:11,163
from lookin' over 
the modern city that emerged

498
00:22:11,263 --> 00:22:15,500
after the great fire of 1897 
burned Lumberton down.

499
00:22:15,600 --> 00:22:17,502
An early-19th-century structure

500
00:22:17,602 --> 00:22:19,538
that survived 
that conflagration

501
00:22:19,638 --> 00:22:22,841
is the small, brick 
Proctor Law Office.

502
00:22:22,941 --> 00:22:24,676
Dating to about 1820,

503
00:22:24,776 --> 00:22:27,412
it's the oldest building 
in this old town.

504
00:22:27,512 --> 00:22:28,780
[mellow guitar arrangement]

505
00:22:28,880 --> 00:22:31,149
I've got 
a front-row balcony seat

506
00:22:31,249 --> 00:22:33,618
at the Carolina Civic Center 
Historic Theater,

507
00:22:33,719 --> 00:22:37,189
which first opened in 1928, 
featuring silent movies,

508
00:22:37,289 --> 00:22:39,891
vaudeville acts, 
and yodelin' cowboys.

509
00:22:39,991 --> 00:22:42,694
After a major preservation 
and renovation effort,

510
00:22:42,794 --> 00:22:44,629
it reopened in 2008--

511
00:22:44,730 --> 00:22:48,300
another Lumber River landmark 
on the National Register.

512
00:22:48,400 --> 00:22:50,802
It's currently presenting 
a hundred events a year

513
00:22:50,902 --> 00:22:52,437
and on the rise.

514
00:22:52,537 --> 00:22:55,807
Now playing, 
John Wayne in Red River.

515
00:22:55,907 --> 00:22:58,009
[hollering and whistling]

516
00:22:58,110 --> 00:23:00,078
[choir supports 
orchestral film score]

517
00:23:00,178 --> 00:23:02,180
The fine arts 
and literary arts

518
00:23:02,280 --> 00:23:04,182
are alive and well here,

519
00:23:04,282 --> 00:23:06,351
and Lumberton 
is much appreciated these days

520
00:23:06,451 --> 00:23:08,653
as the home 
of one of North Carolina's

521
00:23:08,754 --> 00:23:12,891
and the South's best-loved 
authors, Jill McCorkle.

522
00:23:12,991 --> 00:23:14,659
I have 
always loved

523
00:23:14,760 --> 00:23:15,927
Meadowbrook 
Cemetery,

524
00:23:16,027 --> 00:23:19,231
just the-- 
it's beautiful, 
quiet,

525
00:23:19,331 --> 00:23:22,334
and I would 
come here 
to ride my bike.

526
00:23:22,434 --> 00:23:24,970
We would always come visit 
Clare Townsend.

527
00:23:25,070 --> 00:23:29,775
The--the local tale 
is that Clare Townsend, um,

528
00:23:29,875 --> 00:23:32,110
who died way too young, uh--

529
00:23:32,210 --> 00:23:34,012
when this statue was erected,

530
00:23:34,112 --> 00:23:37,482
we always heard 
that she had ruby eyes

531
00:23:37,582 --> 00:23:41,386
in the statue 
and that someone stole them

532
00:23:41,486 --> 00:23:45,090
and that Clare 
is always watching, and, um,

533
00:23:45,190 --> 00:23:48,727
hoping to see the person 
who stole her ruby eyes.

534
00:23:48,827 --> 00:23:52,030
And so kids would, you know, 
dare each other to run up

535
00:23:52,130 --> 00:23:53,965
and touch her 
and run away, and--

536
00:23:54,065 --> 00:23:55,700
and I always 
just loved her.

537
00:23:55,801 --> 00:23:57,936
Somebody dared me 
one time to kiss her,

538
00:23:58,036 --> 00:24:01,273
and I did, and it didn't 
bother me a bit--hah, hah!

539
00:24:01,373 --> 00:24:03,909
(Simpson) 
We're in downtown 
Princess Ann, North Carolina,

540
00:24:04,009 --> 00:24:05,644
established in 1796,

541
00:24:05,744 --> 00:24:07,546
back when 
the whole Lumber River

542
00:24:07,646 --> 00:24:09,514
was still called 
Drowning Creek.

543
00:24:09,614 --> 00:24:11,249
All that's left 
of Princess Ann

544
00:24:11,349 --> 00:24:12,984
is her name on a road,

545
00:24:13,084 --> 00:24:14,719
and yet 
that's just the beginning,

546
00:24:14,820 --> 00:24:16,455
not the ending 
of the tale,

547
00:24:16,555 --> 00:24:19,157
for the road leads 
to one of our state's

548
00:24:19,257 --> 00:24:21,226
truly great natural treasures.

549
00:24:21,326 --> 00:24:23,094
We're at Griffin's Whirl,

550
00:24:23,195 --> 00:24:25,063
a hypnotic, 
reverse-flow feature

551
00:24:25,163 --> 00:24:27,699
on the river near Orrum.

552
00:24:27,799 --> 00:24:30,969
Our state has one and only one 
black-water stream

553
00:24:31,069 --> 00:24:32,537
with the federal government's

554
00:24:32,637 --> 00:24:34,539
wild and scenic river 
designation,

555
00:24:34,639 --> 00:24:36,241
and this is it.

556
00:24:36,341 --> 00:24:40,045
Eighty-one miles 
of the Lumber hold that honor.

557
00:24:40,145 --> 00:24:42,280
In 1989, 
the state of North Carolina

558
00:24:42,380 --> 00:24:43,648
declared the Lumber

559
00:24:43,748 --> 00:24:45,984
a state natural 
and scenic river

560
00:24:46,084 --> 00:24:47,786
and made a goodly portion

561
00:24:47,886 --> 00:24:49,721
of McNeill's 
"tortuous, delicious flirt"

562
00:24:49,821 --> 00:24:51,957
into the Lumber River 
State Park.

563
00:24:52,057 --> 00:24:53,758
[gentle piano 
and guitar arrangement]

564
00:24:53,859 --> 00:24:55,694
A number 
of primitive campsites

565
00:24:55,794 --> 00:24:58,563
await campers at the park's 
two key facilities,

566
00:24:58,663 --> 00:25:00,632
at Chalk Banks near Wagram

567
00:25:00,732 --> 00:25:03,401
and at the headquarters 
here at Princess Ann,

568
00:25:03,502 --> 00:25:06,204
about 15 miles downstream 
of Lumberton.

569
00:25:06,304 --> 00:25:08,707
More overnight ports 
for canoeists and kayakers

570
00:25:08,807 --> 00:25:11,109
are along remote stretches 
of the stream,

571
00:25:11,209 --> 00:25:15,413
and their names of traders 
and landings from bygone days

572
00:25:15,514 --> 00:25:18,950
read like a roll call 
of the river's history.

573
00:25:19,050 --> 00:25:21,987
The Powell House, 
this small coastal cottage,

574
00:25:22,087 --> 00:25:24,389
was built here 
as the Wooten trading post,

575
00:25:24,489 --> 00:25:26,791
hard by the Lumber River, 
back in 1802,

576
00:25:26,892 --> 00:25:30,028
predating the laying out 
of the town of Fair Bluff

577
00:25:30,128 --> 00:25:31,863
by four years.

578
00:25:31,963 --> 00:25:33,798
This lovely, 
little crossroads town,

579
00:25:33,899 --> 00:25:37,369
with its mile-long river walk, 
is the last civilization

580
00:25:37,469 --> 00:25:39,905
along the Lumber River 
in North Carolina.

581
00:25:40,005 --> 00:25:43,008
Below Fair Bluff, 
it's only a short way

582
00:25:43,108 --> 00:25:45,076
through wilderness 
river-swamp jungle,

583
00:25:45,176 --> 00:25:47,913
and then nothing... 
but South Carolina,

584
00:25:48,013 --> 00:25:51,449
where the Lumber flows 
into the Little Pee Dee.

585
00:25:51,550 --> 00:25:55,420
Yet the wondrous Lumber River 
is ours for 115 miles,

586
00:25:55,520 --> 00:25:57,422
and one 
of the very best reasons

587
00:25:57,522 --> 00:25:59,991
to get out 
and afloat in our state

588
00:26:00,091 --> 00:26:03,461
is the dark, alluring water 
of this "sweetheart stream."

589
00:26:03,562 --> 00:26:05,597
♪

590
00:26:05,697 --> 00:26:07,933
[birds chirping]

591
00:26:08,033 --> 00:26:10,602
[water sloshing faintly]

592
00:26:10,702 --> 00:26:18,810
♪

593
00:26:21,746 --> 00:26:24,316
[piano and strings lead 
placid orchestration]

594
00:26:24,416 --> 00:26:30,655
♪

595
00:26:30,755 --> 00:26:45,337
♪

596
00:26:45,437 --> 00:27:00,352
♪

597
00:27:00,452 --> 00:27:15,433
♪

598
00:27:15,533 --> 00:27:27,545
♪

599
00:27:27,646 --> 00:27:29,381
CAPTION EDITOR 
Will Halman

600
00:27:29,481 --> 00:27:32,450
Caption Perfect, Inc. 
www.CaptionPerfect.com

601
00:27:32,550 --> 00:27:39,057
♪

602
00:27:40,325 --> 00:27:43,028
(announcer) 
To subscribe 
to Our State magazine,

603
00:27:43,128 --> 00:27:46,965
visit the Web site 
ourstate.com or call...

604
00:27:51,236 --> 00:27:53,905
[strings support 
gentle piano melody]

605
00:27:54,005 --> 00:27:57,509
From the time BB&T 
opened its doors in 1872

606
00:27:57,609 --> 00:27:59,310
in the town of Wilson,

607
00:27:59,411 --> 00:28:01,379
we've supported 
the people and communities

608
00:28:01,479 --> 00:28:03,048
of North Carolina

609
00:28:03,148 --> 00:28:06,117
from the Outer Banks 
to the Blue Ridge Mountains.

610
00:28:06,217 --> 00:28:09,020
We've been in business 
for 136 years,

611
00:28:09,120 --> 00:28:12,090
making us the oldest bank 
in North Carolina.

612
00:28:12,190 --> 00:28:13,992
We're proud 
of this distinction,

613
00:28:14,092 --> 00:28:15,894
and we're also very proud

614
00:28:15,994 --> 00:28:18,229
to provide funding 
for Our State .

615
00:28:18,329 --> 00:28:20,331
♪

616
00:28:21,599 --> 00:28:23,601
Quality public television 
is made possible

617
00:28:23,702 --> 00:28:25,103
through the financial 
contributions

618
00:28:25,203 --> 00:28:26,705
of viewers like you,

619
00:28:26,805 --> 00:28:30,508
who invite you to join them 
in supporting UNC-TV.