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303 Editor’s Note in the summer of 2010, Jane Blaffer Owen hoped to begin three chapters to insert within the narrative before “Carol’s Garden,” which she always intended as the last chapter. She often indicated in our discussions that the primary focus of her memoir would be the years from her arrival in New Harmony in 1941 through the 1970s because the history of those years as seen through her perspective was limited. Thus, she felt comfortable delaying work on the following three chapters, since each had already been documented in some ­way. “Rapp-Owen Granary” would emphasize the “community effort of its restoration .” Grants from the National Park Ser­ vice and the Lilly Endowment ­ were supplemented by contributions from more than three hundred donors who also cared passionately about the Granary’s restoration. David L. Rice, emeritus president of the University of Southern Indiana, guided the restoration as volunteer project coordinator, working with Ralph Glaser and Jeff Koester, as well as many skilled artisans. The aspect of community extended to include representatives from Iptingen, Germany, and New Lanark, Scotland, at its dedication in October 1999. The documentary Old Stones in New Harmony: The Rebirth of the Rapp Granary, produced by Parri O. Black at WNIN, a public tele­ vi­ sion station in Evansville, Indiana, tells its story. “The MacLeod Barn Abbey” would feature the importance of one of her spiritual mentors, Sir George MacLeod. She wrote: “My favorite place in New Harmony is the Barn Abbey because of its simplicity and intimacy, especially during Benedictine retreats. It didn’t need an architect; our barn builders ­ were natural architects. They knew proportion and soundness of structure” (66 and 67 on town map). She would also recount the commissioning of Tobi Kahn’s Shalev. When first encountering the Orthodox Jewish artist’s work, she described his talent as “a gift from God.” She connected with his deep spirituality, which she recognized in the miniature sacred spaces called shrines that he had been creating since the late 1970s, and she commissioned him to create his first ­ full-­ scale work Shalev, or Angel of Compassion, which she described as a place “to shelter and to heal us.” Since the Rev. Terrence “Terry” Dempsey, founding director The restoration of the Granary by the Rapp Granary-Owen Foundation began in January 1997. In the distance, the Lab is obscured by the Granary’s massive scale. Photograph by Darryl D. Jones, 2009. Barn Abbey with a view of Tobi Kahn’s Shalev near a floodplain of the Wabash River. Photograph by Darryl D. Jones, 2013. Shalev, by Tobi Kahn. Granite exterior, 150 × 98 × 44 inches; bronze interior, 60 × 20 × 14 inches. © 1993 Tobi Kahn. Photograph by Janet Lorence. Courtesy of Tobi Kahn. Editor’s Note 307 of the interfaith Museum of Contemporary Religious Art at St. Louis University, had introduced them, he was invited to dedicate Shalev. Knowing that Tobi Kahn is a kohen—the name Kahn is a variant on Cohen, often indicating descendants of the first priest, Aaron, from the tribe of Levi—Fr. Terry chose the priestly blessing and prayer recited by kohanim: “May the lord bless you and guard you. May the lord make His face shed light upon you and be gracious unto you. May the lord lift up His face unto you and give you peace.” “Cathedral Labyrinth and Sacred Garden” would detail the labyrinth’s inspiration in the floor of Chartres Cathedral; its precision mea­ sur­ ing by Kenneth “Kent” A. Schuette, clinical professor, landscape architecture, at Purdue University, with Rob W. Sovinski, professor, landscape architecture, at Purdue University, and Robert Ferre, Labyrinth Enterprises; and its placement in New Harmony under Kent’s guidance. She would include details about Simon Verity’s Orpheus Fountain (68 and 69 on town map). Verity credits her with Jane Blaffer Owen walking the Cathedral Labyrinth in 2008. Chanoine François Legaux of Chartres Cathedral in France came to New Harmony to bless the labyrinth in 1997. Photograph by Christy Karll McWhorter. Blaffer-Owen family photograph. 308 Editor’s Note suggesting a lyre fountain so as to help tame the wild beast within those who walk the labyrinth and to wash their feet. She delighted in the many interesting visitors she met barefooted on the labyrinth’s cool polished carnelian granite surface. In early June 2010, however, her intense focus was on adding, to the otherwise complete epilogue, the names of those who had enriched New Harmony, and she was eager to...


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