The First Coast's Jonesport and Beals Exhibit

In October 2018, I spent one month living in a leaky, renovated 1976 Airstream trailer in Jonesport, America.

Before arriving in Jonesport, I was lucky enough to be in contact with Bragita (Bee) Noreen, who extended an offer for me to park my 31ʼ beast of an aluminum home at the Jonesport Shipyard. I would spend the month fearing that Iʼd blow away every time another Norʼeaster blasted the sides of my tin can home and getting to know some members of the community here in Jonesport and in Beals.

Founded in 2016, The First Coastʼs mission is to record and share stories of coastal Mainers. Iʼve been to a lot of coastal Maine towns since the project officially launched and what I found in Jonesport and Beals was a uniquely welcoming community. I also found a community thatʼs deeply entrenched in stories. I learned so much from the storytellers here, and from the folks who are dedicated to preserving the history of both towns.

Beals Island Bridge in Fog. By Greta Rybus.
Ernest Kelley at home in Jonesport. By Greta Rybus.

This exhibit features images, stories, sounds, and ruminations from the Jonesport and Beals communities. It is a collaboration and represents only a fraction of the voices and perspectives in these two towns. It is the product of countless hours of interviews conducted by Charlie Alley, Bill Plaskon, and Donnie Wood- ward for the Jonesport Historical Society, of archival tapes courtesy of Carol Davis at the Beals Heritage Museum, and of interviews I conducted in 2018 for The First Coast project.

This exhibit is also a collaboration between myself, Galen Koch, and a group of devoted students at College of the Atlantic. The exhibit and soundwalks would not have been possible without the work of Camden Hunt, Ellie White, and Johnny Robinson.

And, finally, the stories are a collaboration between the editors and artists, and the storytellers of Jonesport and Beals.

When you listen to these audio stories, or read the words that accompany the stunning photographs by photojournalist Greta Rybus, what emerges is a story about two communities, connected by a bridge and by genealogy, rooted in hard work, the sea, and a collective memory.

What also emerges is humor, community, family, and a love for storytelling. Jonesport and Beals are chock full of stories – some true, some, well, a little less true. It was Charlie Alley who told me about one of Jonesportʼs legendary storytellers, Cecil Kelley. Cecil would say “thereʼs a little truth” in everything he said. Maybe the mark of a great story is when you canʼt tell the truth from the lie.

– Galen Koch, Lead Producer of The First Coast

Thanks to everyone who invited me into their home and shared stories with me. And thanks, specifically, to Charlie Alley, Bill Plaskon, Doug Dodge, and Gina Mazza for being my point-people, community connections, and for eating dinner with me from time-to-time, playing cribbage, and going for dog walks. And thanks to Carol Davis, of the Beals Heritage Museum, for trusting me with your archives.

Thank you to the community members in this exhibit who have passed on, I hope to honor your stories and memory by sharing your voices here.

 To explore the virtual exhibit and listen to audio stories, please click through the images below.

Gallery / 33 Items

Sune, Patricia, and Bragita Noreen at the Jonesport Shipyard

A very special thanks to Sune Noreen, Patricia Noreen, and Bragita Noreen for providing me with a place to park The First Coastʼs Airstream trailer in October 2018.

This exhibit features audio stories and soundscapes. Many stories in this exhibit were produced by students at the College of the Atlantic in the classes “Mapping Ocean Stories,” “Within Living Memory,” and independent studies, with guidance from audio producer Galen Koch.

Track 01. Photograph by Greta Rybus.

Beals Island Bridge, Beals

“When Beals Island was settled, everybody settled around the shoreline, nobody went to the middle of the island. The middle of the island, of Beals Island, is undeveloped, basically. Plop your house on a rock on the shoreside somewhere and build a wharf in front of it, and there you go, youʼre home.

A lot of it is handed down from generation to generation. Thereʼs a lot of private wharfs around here, from here east, a lot of guys have their own wharfs that they use. Thereʼs a lot more tide up here, so thereʼs not necessarily good spots for a permanent wharf that you can access all the time, like at low water. And they get passed down and passed down, like my wharf was my grandfatherʼs and my fatherʼs, and now itʼs mine.” Sonny Beal, Beals

Track 02. Photograph by Greta Rybus. Audio by Ellie White and Galen Koch.

Great Wass Island Preserve

“I moved away for about a year. After a while you realize when you move outta town, people donʼt know each other, they donʼt pay attention, they donʼt care like they do in this little small town. This is a peaceful, quiet, nice little community. I mean, probably weʼre a very nosy bunch, but when it comes to being there for each other, weʼre always there. We always stick together and help each other out. I know that people like to enjoy other places, but I just donʼt want ʻem to get too close to this place and decide they wanna stay! Iʼm glad to live here, Iʼm proud to live here. I wouldnʼt want to live anywhereʼs else. I call it Godʼs Country.

Iʼll say, ʻShhhh... Donʼt tell anyone, this is Godʼs Country.ʼ” Gay Crowley, Beals

Track 03. Photograph by Greta Rybus. Audio by Galen Koch and Ellie White.

Boats in Sawyer Cove, Jonesport. Years ago, this view may have been dominated by weirs, oval fish traps made with wooden stakes.

"We'd walk to the weir in the evening and see if there's any fish coming in. The herring would come in and weʼd watch ʻem and weʼd go up in the morning and we wouldnʼt have any! So, Ernest says, ʻLetʼs go up and seine her right in the night.ʼ I said, ʻAll right.ʼ We always had lines tied on the weir, that we could grab without a flashlight or anything. We never had to speak to each other, we knew just what we had to do. And we seined her. When it got daylight, Ernie says, ʻWell, we gotta pick the mackerel out of them herring.ʼ And I said, ʻYouʼve gotta pick the herring out the mackerel!ʼ I said, ʻWe got all mackerel!ʼ” Tuddy Urquhart, interviewed with Ernest Kelley by Charlie Alley in 2004. Tuddy passed away in 2016, he and Ernest Kelley share many memories of weir fishing and stop seining together.

Track 04. Photograph by Greta Rybus. Audio by Galen Koch.

October Wind, Moosabec Reach

“Worry. I guess, thatʼs all it was was worry. You have your children, your grandchildren, when youʼve got a whole family working on the water, all it is is worry. One night they went aboard the boat because itʼs just the case down there, cold, way below zero. They had an old CB then, not like they got now you talk back and forth, the old kind. And someone asked where [Ernest] and Tudd was. ʻHeʼs gone out aboard the boat.ʼ And a man come on, he says, ʻIf those two are aboard that boat tonight,ʼ he says, ʻTheyʼll freeze to death.ʼ

Well, they got out there and they couldnʼt get back on the mooring! Finally they got in far enough so they got into someone elseʼs wharf and they got all right but what is five minutes seems like an hour when they go.” Marilyn Kelley, Jonesport

Track 05, Photograph by Greta Rybus. Audio by Galen Koch and Camden Hunt.

Herring at Look Lobster Co., Jonesport

“My grandfather fished 130 traps. When they come home they had to go round up the bait because the dealers didn't have bait. You had three factories you could go to if they was runnin' and people had weirs, they'd bring up some in the dories, and you could buy some.

Where my wharf is we used to have what they call a bait shed and they used to put bait in that. When someone come up with a dory load of herring and didn't have any market for it, he'd bring it in there and salt it all in that bait shed, then he'd have that when bait was scarce, you would go in there and get some. But they didn't use the volume of bait they use now, two, three, four cans is maximum. Now some of the fishermen take thirty, forty.” Charlie Alley, Jonesport

Track 06. Photograph by Greta Rybus. Audio by Galen Koch.

Barneys Cove, Beals Island

Lillian Huntley: “My parents were Ewart and Mineola Beal Lenfesty. Thatʼs the only Mine- ola there was around here. She was the granddaughter of Tall Barney Beal. I was [born] on Beals, but it was part of Jonesport, because Beals and Jonesport werenʼt separated ʻtil 1925. We didnʼt have that much - there were eight of us in the family. We were poorer than Jobʼs turkey! I went to Beals Elementary School. We used to take an eighth grade entrance test... I was valedictorian! Now Iʼm bragging! Itʼs part of my life. I tested either four or six months in the tenth grade, and I was an eighth grader. Iʼm bragging!”

Charlie Alley: “Well youʼve got to brag because thereʼs no one else around from then to brag for you!”

Charlie Alley interviewed Lillian Huntley in 2006, she passed away in 2009.

Track 07. Photograph by Greta Rybus. Audio by Galen Koch.

Moosabec Reach, Looking Towards Jonesport

“Our company was established in 1910 so weʼve got some old roots. Weʼre really the oldest lobster producing, family-oriented company, Iʼm going to say, in the United states today. We are pushing, now, weʼre the fifth generation, heading for the sixth. We got some young fellows coming up there and I just hope they carry the ship on and roll down the highway.

There's been enough smart people in this industry that have foreseen that you got to put back in the industry what you take out of it if you want it to exist tomorrow. The lobster industry really has been a blessed industry, Iʼll say, for the state of Maine. Thatʼs for sure. Put us on the map. No matter where you go, you mention Maine and they say, ʻAh, youʼre from Lobster Country.ʼ We are a breed all our own, I guess.” Sid Look, Look Lobster Co.

Track 08. Photograph by Greta Rybus. Audio by Galen Koch Ben Peverell.

Dooryard, Pink House, Jonesport

“In most cases, most families that are fishing in this area theyʼve always been fishinʼ families, its heritage passed down from generation to generation but rules and regulations, politics mostly, is changing it all.

Iʼm the only one left, Iʼm the dinosaur. Iʼm the only one left in the family, thereʼs no other fishermen in our immediate family. There used to be a dozen of us and now thereʼs just me. The way fishinʼ was going, it drove a lot of them away. They started out fishinʻ and then they just left. Some of them went into the service. Some of them went and got jobs and thereʼs not as many fishermen now as there used to be. Used to be that everyone was a fisherman but now itʼs not the case... Like I said, itʼs changing year to year. Itʼs changing.” Richard P. Alley, Jonesport

Track 09. Photography by Greta Rybus. Audio by Addie Huckins.

Sanford Kelley’s Childhood Home, Jonesport

“The town didnʼt want tourism. They voted against it. They said, ʻWe are a working town and we want to just stay that way.ʼ Of course, I was trying to push tourist business, too, because I was with the Machias Economic Council. We were trying to get business and make more money for Washington County but that didnʻt work for Jonesport. They wanted no part of that. We had meeting after meeting but no, working waterfront and that's the way itʼs going to stay. The lobster business has come on in the last 20 years and thereʼs some of the fishermen out there that have done very, very well. So I think Jonesport is not going to change very much as long as the lobster business stays healthy.” Sanford Kelley

Galen Koch interviewed Sanford in 2018, he passed away in 2019.

Track 10. Photograph by Greta Rybus. Audio by Galen Koch.

Luke Hunkler at Smith’s Wharf, Jonesport On the F/V Outer Limits, Capt. Peter Barton

“Through the summer the same boats, ʻcause theyʼre not fishing as far offshore and the weatherʼs better, they get more done and home sooner, whereas in the fall, with so much bad weather, when they get a day thatʼs fit to fish, they stay as long as possible. ʻCourse now, with the time change, itʼs dark, pitch-dark at five oʼclock. It seems like itʼs ten oʼclock at night. You look and looks like a city coming, all the lights ʻcause everybody just hangs on and puts in the best day they can ʻcause you donʼt know, might be a week before you get back out.” Steve Peabody, Jonesport

Track 11. Photograph by Greta Rybus. Audio by Galen Koch

Steve Peabody, Beals - Jonesport Co-op Manager, Jonesport

“A fisherman is very independent and thatʼs why that fisherman, God bless ʻem, they have their own ideas. To get a group of guys together and actually form a co-op and have a 99% participation is a pretty good trick to keep ʻem all together, but we seem to be doing a pretty good job.

Loyalty is something there isnʼt a lot of in this business but I have it in every aspect. I have loyalty in my bait, I have loyalty in my lobsters, in my fuel supply, everything I do. I try to surround myself with the best people. I take care of them and they, in turn, take care of me.”

Track 12. Photograph by Greta Rybus. Audio by Galen Koch.

Sid Look, Look Lobster Co., Jonesport

“This is a breeding area, apparently, for lobsters, up and down the coast of Maine. And these lobsters now, Iʼve put lobsters in my pound and Iʼve done the test here three, four years ago and I found out that these lobsters now are shedding out in 5 month periods. That tells me that thereʼs two sheddings in a year now where we used to have one. That makes quite a difference. Now our water temperatures, just in my time, I know in my area theyʼve increased at least ten degrees. Look at what's happening, the water level is coming up! Look at all these storms now, we're pushing the sea level along with the water run off higher than it ever was before. So there, again, the lyrics are changing. Thereʼs no field or industry that I see that the lyrics havenʼt changed. Theyʼre changing right in front of your eyes.”

Track 13. Photograph by Greta Rybus. Audio by Ben Peverall and Galen Koch.

Ralph Smith, Moosabec Mussels, Jonesport

“I took to musseling in ʻ75 when there was no such a thing. You have to work these beds to keep the quality up. Itʼs like a garden. If you hoe your garden, cultivate your garden, your product is a lot nicer. It's the same with mussels. If you go in there and you pull the markets out and put the seed back, now that seed has more room for more feed. Heʼs not fighting so much. Then they get more feed per bushel and theyʼll grow. This is the way they go. Sometimes mussels will set all in one layer. You go down Lubec way, as soon as you find a bed of mussels you drag that bed of mussels and you got them in a weeks time. Then I have seen places where you drag and drag and drag for years. The Great Bar for instance, back years ago, when that started, we dragged that for years. I figured they must have been ten feet deep. Now, people will disagree with me on that. I canʼt help it. Iʼve been there. I know it. I know whatʼs going on.”

Track 14. Photography by Greta Rybus. Audio by Camden Hunt and Galen Koch.

Charlie Alley, Lobsterman, Jonesport

“[My grandfather] was a lobster fisherman. He did anything he could to make a living, a lobster fisherman, he dug clams, and he even used to cut bushes on the side of the road for the state in the summers. He used to go handlining some summers, that's catching cod and pollack and selling them. He did anything he could to make a living. Years ago you couldn't make a living just lobstering but now some people make a living just lobstering. I went with my grandfather when I was very young - my father used to drive a lobster truck to Boston and my grandfather lobster fished. I'd go with him picking wrinkles in the summer sometimes, he'd give me so much for a ten quart pail full of 'em. And then I used to go with him [lobster fishing] and he'd give me what he'd get out of two or three traps and I used to bait the pockets and band the lobsters for him.”

Track 15. Photograph by Greta Rybus. Audio by Galen Koch.

Charlie’s Shop, now used by his son, Jason Alley

“My father lived in Head Harbor when he was very young and his mother and father lived there, in Hatchet Harbor. It was just as easy to live on an island as it was on the mainland because everything on the mainland had to come by boats. But when they started cominʼ by trucks, then people realized it was easier to live [on the mainland]. So they kept moving off and moving off and finally they was all gone. The last person off the island was 1941. My father's and mother's house came from Head Harbor. They only paid $100 for it and moved it to Jonesport. They let him use what they call a make-and-break engine to haul it up with. They put it on the barge then theyʼd bring it into shore... And it was a straight shot from there right up to where both houses went in Jonesport.”

Track 16. Photograph by Greta Rybus. Audio by Ellie White.

Charlie Alley, Lobsterman, Jonesport

“Charlie Alley deserves a special salute for his incredible work documenting genealogy in Jonesport and Beals, and for his tireless effort to interview residents along with Donnie Woodward and Bill Plaskon for the Jonesport Historical Society. This project would not have been possible without Charlie. He took me for long walks around Old House Point, regaled me with stories of the past and his hopes for the future, and he taught me to play cribbage. Thank you, Charlie, for your guidance and support, from myself and the students at College of the Atlantic, who learned so much from the interviews you conducted for JHS.”

Galen Koch, The First Coast

Track 17. Photograph by Greta Rybus.

Eddie Hagan, Coastal Wreaths and Hagan Bait Co., Jonesport

“The backbone of any wreath is the tips. It should be semi-full brush, it should be fingertips to elbow in size. That is a perfect tip.

Itʼs a craft that a lot of people used to hand down but now youʼre seeing a lot of the wreaths that are machine made or theyʼre clamp rings or itʼs more of a wholesale wreath that youʼd find at your box stores or any of those places that are, in my opinion, kind of gnarly. It was something that my father was doing over 25 years ago, he was selling Christmas trees from Canada and we would just make up a few wreaths for him to take down to New York and Boston. After he passed I decided to turn it into an actual business. I think any man that takes over his fatherʼs industry has a certain sense of obligation to make sure that it continues to do well, you wanna see it do well. And it will end when my time is up, thereʼs a certain sense of pride to that.”

Track 18. Photograph by Greta Rybus. Audio by Camden Hunt and Galen Koch. 

Zachariah Smith, Musician, Jonesport

“I dressed up when I was really young, like, 3 or 4 years old and that sort of freaked out my parents a little bit. You know, because they just weren't prepared to have, like, a gay child. No 5th-generation lobsterman is ready to have a gay son, he was expecting me to be, like, a macho man. When I dress up in drag now it's like I'm connecting with my young- er self or giving a voice and a space for that younger self. It just fills me with this confi- dence and strength and it's just so fun.

My parents are really cool, too. Definitely, I have their full support. Iʼm lucky, so lucky to be from Jonesport and have a family that supports me. Itʼs a lot of fear when youʼre grow- ing up closeted because you donʼt want people to find out, youʼre afraid of what people will think so you suppress all that, all these emotions. And thatʼs not good for your soul.”

Track 19. Photograph by Greta Rybus. Audio by Johnny Robinson. 

Doug Dodge, in his boat shop on Beals Island

“My great-grandfather had a shop right here, 1919. Then he moved it to Jonesport and then my uncle came over from Brier Island, Westport, Nova Scotia to work with my great-grandfather... And he had a shop here where this one is and it burnt in ʻ72. And so Donnie Woodward and I built this one. The two of us built it for my uncle and then next year he died, so after ʻ75 I come back and I been here ever since. I build more like custom boats. I'm not a production builder, I've never built the same boat twice. Every boat I build, I have to make a new model, loft it out, so finally I'm doing this one for myself. This boat has been my dream for thirty years. It's gonna be my play boat. Then when I die it'll go to my son, and he'll probably put me in it and burn it - Viking burial.”

Track 20. Photograph by Greta Rybus. Audio by Johnny Robinson and Lydia Pendergast.

Sonny Beal, Lobsterman, Beals Island

“I grew up aboard the boat, going lobstering. [My father] bought me a boat when I was twelve, ʻThe Moneymaker.ʼ A little twenty-two foot, had a wooden bottom and aluminum sides, 45 Mercury on the back of it, it was fiberglassed over, it weighed probably as much as six elephants. When I got out of college I still had it and ended up getting a job in Gloucester, Massachusetts. Pretty much was miserable the whole time I was there, not the whole time, but I really didnʼt like it. Came home one weekend and was talking to my father, and he says, ʻWhat do you want to do?ʼ And I said, ʻWell, honestly, I'd like to go lobster fishin'.ʼ He says, ʻAll right. You wanna come home. We'll cut the dragging gear out of the boat, we'll build traps, we'll go lobstering together.ʼ”

Track 21. Photograph by Greta Rybus. Audio by Ellie White.

Gay Crowley, Moosabec Bait, Beals

“These little critters, these little worms, all these years theyʼve been meaningful to a lot of sports fishermen, thatʼs for sure. I provide jobs for about 15 diggers, so, I mean, it is a big help around here, big help. They each have their own way of digging, and some of ʻem pluck ʻem right out, just grabbinʼ ʻem right up.

One thing thatʼs kind of hurt is the fact that a lot of these out-of-staters have gone in and bought property, and that property is right on the shore where a lot of these diggers had to go, in the past, to walk. There was no problem in the past, but with these new out of staters moving in, thatʼs a no-no. They donʼt even stop and realize that these guys are just out there trying to make a living. Even though they can dig as far as high water to low water or whatever, you canʼt get across the land to get to that.”

Track 22. Photograph by Greta Rybus. Audio by Galen Koch.

Sandra Woodward holds Suzzee, her African grey parrot on Beals Island.

“When I got her from the store she was already named Suzzee. Sheʼs about 18, but they live to be very old if everything goes well. They can live to be 50 odd years old. Sheʼll be given to my son when I pass away. Itʼs a good chance she will outlive me.”

Track 23. Photograph by Greta Rybus. Audio by Camden Hunt. 

Ray Beal, Poet, Photographer, Beals Island

“That boat there, my father built that boat for me but I never used it so I gave it to my nephew when he got old enough. He used it for a number of years and lately he hasnʼt. He got another boat, fiberglass, bigger than that... So that one has just been sitting out there. My grandfather, Edmund, my motherʼs father, Edmund Alley, Edmund Leroy Alley, he was very proud of his son-in-law and his boats so he used to call the boats that came out of the boat shop “little darlings.” We named a boat for Grampy Edmund by naming it ʻLittle Darling.ʼ”

Track 24. Photograph by Greta Rybus. Audio by Galen Koch.

Daily Cribbage Game at Moosabec Variety

“Itʼs a tradition in Jonesport and Beals for community members to gather and tell stories, play cribbage, and talk about the weather or fishing or (maybe even) gossip. Sometimes referred to as the Liarʼs Table, no matter where itʼs located, this tradition has kept many legends and myths alive and thriving. In this audio story, weʼll hear Ray Beal tell some of the legendary stories about Tall Barney Beal, one of Beals Islandʼs most mythic characters.” Galen Koch, The First Coast

Track 25. Photograph by Greta Rybus. Audio by Ellie White.

Ernest Kelley, sharing a photograph of stop seining near two weirs in Jonesport

Ernest Kelley: “This is what weʼd call a pocket that we were seining, we was just seining the pocket. Youʼd run the twine across the cove and in the morning before daylight, if you could get a pocket on, youʼd just sink the front of it down and [the herring] go right in.”

Galen Koch: “Itʼs kind of like a weir?”
Ernest Kelley: “Yeah, the only thing is, a weir fishes itself.”

Track 26. Photograph by Greta Rybus. Audio by Galen Koch.

Ernest and Marilyn Kelley’s Home, Jonesport

Charlie Alley: “When is the best time to go catch herring? When there isnʼt any moon?”

Ernest Kelley: “Yeah.”

Charlie Alley: “When itʼs horrifically dark, the moon isnʼt full.”

Ernest Kelley: “Usually it didnʼt matter what - what I always saw, you never knew when you was gonna see a herring in a cove or not.”

Charlie Alley: “But I remember they always used to talk about, I think it was the August Dark.” Ernest Kelley: “August Dark.”

Charlie Alley: “Thatʼs when theyʼd be looking for them, the August Dark.”

Track 27. Photograph by Greta Rybus. Audio by Galen Koch.

Ernest Kelley, Fisherman, Jonesport

“We were down on Marble Head Bank, we went there once when Raymond Smith up here talked me into getting bait and meeting him offshore, and I went to give him some bait and we was going off to the bank down here. But there werenʼt no fish, we couldnʼt catch no fish there. I donʼt know what he got, but he left and come in. And I told Alfred, the fella that was with me, and the boys, I says, ʻIʼll go to westward. I can get that piece of bottom that Papa told me about, Iʼd been with him on it.ʼ Caught a good boatload of fish right there.

And when we come in, we was down at Three Rivers and Raymond was there he says, ʻWhere on Earth did you find them?ʼ And I says, ʻOut there in the ocean.ʼ”

Track 28. Photograph by Greta Rybus. Audio by Galen Koch.

Ernest and Marilyn Kelley’s Kitchen, Jonesport

Ernest Kelley: “[My] boatʼs still in the water down there. My grandsonʼs going to have her, I made her over to him.”

Galen Koch: “Whatʼs the name of the boat?”

Ernest Kelley: “Marilyn E.”

Marilyn Kelley: “And [our grandson] wonʼt change it. Heʼd come over and he says, ʻIʼm keeping the Marilyn E.ʼ I says, ʻPut your wifeʼs name on it!ʼ She doesnʼt want it. She says, ʻThatʼs the Marilyn E. And as long as Iʼm living itʼs going to be the Marilyn E.ʼ He donʼt want no other other name on it. He says, ʻThatʼs Papaʼs boat and sheʼs the Marilyn E.ʼ And so itʼs nice you can sell it to someone that appreciates it.”

Track 29. Photograph by Greta Rybus. Audio by Galen Koch

Ernest and Marilyn Kelley, Jonesport

“When our oldest son first got his boat - he and his brother decided they wanted a boat so, of course, whatever they wanted, we let them try. And they went by themselves - shut down, thick fog. Of course, we was up there in the big boat because I used to go with [Ernest] a lot. And I says, ʻErnest Kelley, if theyʼre lost...ʼ We didnʼt know where they were.

So Ernest says, ʻHow come you found your way home?ʼ He says, ʻWell, Papa told me you couldnʼt get lost up in that bay,ʼ that was his grandfather. He says, ʻAll you have to do is shut your motor down and listen.ʼ He says, ʻSo we listened for the seagulls on the rocks. We knew when we heard the seagulls, there was a rock close by.ʼ” Marilyn Kelley

Track 30. Photograph by Greta Rybus. Audio by Galen Koch.

The Jonesport and Beals Exhibit includes a site-specific, immersive Soundwalk, created by Camden Hunt. The Jonesport Soundwalk can be accessed, in full, at

Listen to an excerpt from the soundwalk here!

Beals Island Soundwalk

The Jonesport and Beals Exhibit includes a site-specific, immersive Soundwalk, created by Ellie While. The Beals Island Soundwalk can be accessed, in full, at

Listen to an excerpt from the soundwalk here!

Beals Island Soundwalk

The Jonesport and Beals Exhibit includes a site-specific, immersive Soundwalk, created by Ellie While. The Beals Island Soundwalk can be accessed, in full, at

Listen to an excerpt from the soundwalk here!

This project is supported by the Fund for Maine Islands in partnership with Island Institute, College of the Atlantic, Maine Sea Grant, and Maine Sound and Story. This project is also supported in part by the Maine Humanities Council. The exhibit and soundwalks are made possible through part- nerships with Jonesport Historical Society, Beals Heritage Museum, and the Peabody Memorial Library. Special thanks to The Grapheteria in Portland, Maine for print donations.

Please visit for a full list of acknowledgments for this project.