In January, 1937, the renovated and enlarged museum was dedicated. Between 1937 and 1942, Simon and Louisa wrote frequently for the Camperdene newspaper -- primarily about Museum exhibits, local history, and historic figures. By the time World War II had erupted, Adolf Hitler had dissolved the ten Grand Lodges of Germany. Prominent dignitaries and members were sent to concentration camps. When Austria was captured by the Nazis, the persecution was continued. Masters of Vienna lodges were confined in concentration camps, including Dachau in Bavaria. The same was repeated when Hitler took over Czechoslovakia, Poland. Holland, Belgium, Norway, and on and on. The Gestapo seized membership lists and looted libraries and collections of Masonic objects. Much of this loot -- after being exhibited in Joseph Goebbels' Anti-Masonic Exposition in 1937 in Munich -- would eventually find its way to The Museum of the Year 1912.

The Spagnolis saw a direct connection between this material and their hero, Rudolf Steiner, who'd initially set up shop in 1912. Steiner elaborated a systematic racial classification system for human beings. He taught that, to be properly understood, races needed to be arranged hierarchically, with the Nordic-Germanic race, the Aryan race, being the most advanced group. Steiner believed only enlightened Nordic-Germans would evolve; their spiritually inferior neighbors would degenerate and die out. Steiner taught that the lower, "darker" races of humans were closer to animals than to the Nordic-German higher races. He denounced the immigration of dark-skinned people to Europe, decrying its effects on "blood and race." Of course Steiner's notions dovetailed neatly into the ideology of the Nazis.

In 1942, with their daughter Carla away in Boston attending a Waldorf school, Simon and Louisa Spagnoli had resumed traveling. At this time, they had turned over the administrative duties of their Museum to Henry Barrow, Wheel Barrow's father. The first actual curator of The Museum of 1912, hired in 1943, was one Susanna Seymour.

"The keynote of the museum is advertising," Miss Seymour proclaimed. "Museums, like business houses, have adopted the plan of going out into the byways and hedges and making themselves known and felt. Pictures of the museum have been framed with printing below telling the hours of opening, setting forth some of the advantages therein, welcoming all and sundry to come in. One of these framed pictures has been hung in each mill in the town, and one in the train station."

At the end of that year, 1943, Louisa Spagnoli entered the Camperdene Home for the Elderly. On April 2, 1944, she was hospitalized. Following a heart attack, she died on April 9. The funeral was held out front of the Museum. The then Masssachusetts Governor (a Democrat) delivered the eulogy.

On May 28, Simon Spagnoli reopened the Museum to the public. On August 22, Simon re-filed the articles of incorporation. A Boston consulting firm was hired to examine all state agencies recommending that funding of the musuem be discontinued because it was a private organization. The city of Camperdene ignored the recommendation, appropriating $2,000 annually to the museum for Fiscal Years 1945-1946.

From 1945 to 1947, Simon Spagnoli and Henry Barrow directed museum activities as chairman and secretary. In 1947, a federal consultant met with them to introduce organizational and conservation techniques for the Museum’s fledgling library/archives. Museum committees were formed for Budget, Property, Custodian, Finance, and Insurance. The museum’s buildings were insured. The board strengthened its policy concerning donated articles. In August, Henry Barrow was elected board president. In October, Association membership dues were introduced (set at one dollar per year).

By 1948, the museum's staff had grown to three full-time employees -- two custodians and a curator responsible for collections maintenance and visitor supervision. Museum facilities were used by the Camperdene Garden Club and other organizations for meetings. The Garden Club began the Louisa Spagnoli Memorial Rose Garden. In 1949, the Museum archives became available by appointment. In September, 1950, museum curator Susanna Seymour departed suddenly. Carla Spagnoli came aboard.

In the 1950 Town Report, the acting curator, Carla Spagnoli, made no mention of the resignation of Susanna Seymour. There was, however, much mention of "extensive damage to the building accomplished in just three months." Happily, there had aslo come "iimprovements," including "more room and light. Lowering of the floor of the museum, enlarging of windows, opening the roof to three attic windows, building shelves under museum wall cases, doing over the walls, adding new radiators, furniture and lights -- all have resulted in attractive exhibition space." The 1954 report noted an "especially gratifying" installation: "New battleship linoleum."

In the 1958 Town report the curator called for expansion: "There is no adequate work space. A curator's office is needed. These are problems that present opportunities to our Trustees." In 1960 she wrote, "On March 19th excavaton was begun on the lawn preparatory to putting in basement windows. Five months later work was completed, providing in the basement public toilets, and a new heating plant with oil burner. New plumbing went in. Extra storage space was made.

In the mid-1980s, Carla Spagnoli stepped down as acting curator. The Museum corporation recruited Hollie Greenspan to be curator. Then had come Neil's time.

One day in February Veronica Pillsbury came in to see him, to say that she was very seriously thinking of not being on the Planning Committee anymore. She said that she and Carla Spagnoli had had a "falling out." Neil said he could not imagine -- he'd thought she and Carla were such good friends. "I had thought so, too," Veronica said resignedly. "But Carla recently decided otherwise. That's just how she is," Veronica said, making a sour face. "For now, she has made it clear to me that we are not friends."

Neil held his tongue. Then he asked Veronica if she thought she would become reconciled to Carla. "You never know with Carla," Veronica said.

That same day, Madame Spagnoli came in with a letter Neil was told he needed to duplicate, sign, and send out with this message: "The museum's Planning Committee has appointed Carla Spagnoli chairwoman. She has graciously accepted. The committee requires committed participants. If you feel, for whatever reasons, that you can't assist the committee in its work, please inform Carla Spagnoli. Thank you, Neil Wright (signed)."

At the end of the month, Neil and Captain Cunningham were at a meeting of the Town Finance Committee held in the Camperdene Middle School's Faculty Lounge. To make ends meet, it was proposed that Camperdene have a volunteer fire department and that The Museum of the Year 1912 should receive no further town assistance.

The next day, Mark broke his arm. Minna had left him with a neighbor for an hour -- with her kids Donny and Bergundy. Mark had fallen out of a trash barrell. He'd landed on his left wrist, cried, and then fallen asleep -- still in the barrell. That evening the Wrights went to the hospital. An x-ray revealed Mark's radius and ulna were both broken near the wrist. His arm was put in a cast. Mark cried himself to sleep.

That same evening, the Book Committee held a meeting. Neil followed up on Captain Cunningham's suggestion that the Committe be run a little differently, so that not only Carla Spagnoli would be involved, chattering away," as the Captain said. People took turns, going clockwise around the table. Veronica Pillsbury was last to speak. She set in, aggresively thrusting fistfuls of Gothic Romance publisher's advertisements cut from The New York Times Book Review at the committee. Neil made a grave mistake: he reminded the committee of its obligation, which wasn't to flood the library with only one sort of book but to represent a broad range of materials of interest to the community of Camperdene. Veronica took that hard. She was livid, she was flabbergasted -- she was furious. "This is what the community wants!" she cried out, holding up her ads. She informed me she was through. She resigned from the Book Committee. Carla Spagnoli grinned ear to ear.

After the meeting, Neil took Veronica aside and tried to calm her down, to smooth her ruffled feathers. Neil apologized -- did so sincerely -- for anything he may have said that hurt her -- maligned her, as she put it, in front of the others.

The next day, Ben Mulvane came in and told Neil he'd handled myself like a gentleman at the Book Committee meeting. Neil mentioned his having apologized to Veronica. He said, "What for? She owes you an apology. Things sure are screwed up around here."

At the end of March, the Friends of the Museum held a "Dip Into the Friends" party. Neil brought the dip and reported to the Friends -- to the two who showed up, and their daughters. He waxed eloquent concerning program successes. He said he hoped to see more programs like the "Movies from 1912 Events and Books," for example, programs with combined viewings, readings, and discussions of short stories from 1912 and notable films made from short stories from 1912; a program with combined viewings, readings, and discussions of immortal comic works from 1912 and related early classic comic/slapstick films; and so on. He suggested the Friends ought to find a "lever" or "mechanism" -- public relations -- by which the Friends might obtain more Friends. He suggested they concentrate on that. There was plenty of leftover dip to take home.

When next the Planning Process Committee (Carla Spagnoli, Captain Cunningham, and Ben Mulvane met, Julia Seymour-Stanton was present. At the previous meeting, House Committee member Reggie Barrow had asked the committee to formulate a statement detailing goals, objectives, and general orientation of The Museum of the Year 1912. Neil had asked Julia to be at that, and tonight's, meetings, as he had thought her presence would be useful to the Committee in its discussion. The professional, calm, persevering Julia showed up. Carla Spagnoli said sourly to Julia "You are not to be present at this meeting." Julia graciously deposited with Carla her prepared notes (activities/objectives) and departed without a word.

Neil reminded Carla that he had asked Julia to be at the meeting -- as he'd thought her presence would be useful to the Committee in its discussions. Carla to Neil: "She is not a member of the committee. She has no business being here. She has no right or reason to be present here. You should feel honored that you are still here."

Ben Mulvane blurted out he just does not understand at all what a Planning Process Committee is expected to do. Neil tried to help clarify things for Ben along these lines:

Through the planning process, museums identify and record short-range and long-range goals, and determine specific situations and problems that demand attention, and then to set objectives and a time-line (deadline) for implementing goals and remedying problems. When faced with such a task, most museums flounder. In order to help museums from floundering, "Planning Process" models have been created to help libraries guide themselves through the process. The Museum of the Year 1912 Association can either use one of the existing models, adapt an existing model to its own needs, or create an altogether new one. The Committee is simply obliged to create a set of objectives, A-Z, and to create a timeline for implementing them, A-Z, and to see that they are implemented, A-Z."

Outcome: Carla ultimately told the committee that it is not to be concerned with "long-range plans" at all, but rather with "practical matters" like "where the photocopy machine should go," and handicapped access: "The Executive Committee has been talking forever about handicapped access, but nothing's been done about it. We should be telling them to get to it, and to get it done."

Neil sincerely liked that.

Two Drafts for Collection Guidelines:

"Two important goals of the Museum of the Year 1912 Association are: (1) to ensure that the Association's collection reflects the needs and interests of the community it serves, and (2) to assure community access to these resources and to all programs and services of the museum.

"The collection development goal is to build a collection geared toward entertaining and enlightening most visitors most of the time. The museum will not develop a strong scholarly research collection, as it is located amid many and fine University and other school museums and arts and science centers, with little community demand for a scholarly research collection of any kind.

"A good, up-to-date, appropriate museum collection of museum reference books will be developed and maintained. An effort will be made to develop a small collection of books printed in the Arts & Crafts style by local printers. Some of the museum's most valuable but cover-damaged rare books will be re-bound by local binders. The Association's collections will reflect the informational and entertainment needs and interests of the community."

Carla moved that, with the approval of the Committee, she and the Director would edit the final versions of the "Mission Statement" and "Collection Development" Guidelines.

Carla's motion was approved. She set the date of the next Planning Committee meeting: "Is Tuesday, April 4th, at 7:00 p.m. all right with everyone?" Neil looked in his datebook and quickly informed her, "Nope. Not good. Carla, that's the same evening as the next Preservation Committee meeting. There's a conflict there for me."

"Well, we'll just have our meeting anyway," Carla Spagnoli snapped at him, "and you can simply come to ours when you are done at theirs."

The next day, Wheel Barrow and Captain Cunningham were in to see Neil. Barrow said, "You know, I've got a lot of troubles.... The last thing I need are more troubles. Wheel again recited his liturgy of how, as a mortician, he has to deal with a lot of women. "The women usually outlive the men, you know, and if I'm not dealing with wives, then I'm dealing with the daughters. In any case, I always deal with the women. You have to know how to take women. You have to learn how to get along with women. I know you think I'm a macho, that I don't treat women like I ought to. But I know how to take care of women. It's something you have to learn."

When Neil reminded Wheel that he'd been around, and that he'd been around women, and that, in fact, he was married to a woman, Barrow told him of his marriage to Candyce, a Scandinavian: "The first years were glorious. She hardly spoke a word of English. Now she's zipping away, talks American like all the other women. Nothing's the same." Barrow now got to the point: "We want you to -- and this will test your metal, see what stuff you're made of -- we want you to call up Veronica Pillsbury and offer her an apology."

Neil informed Wallace Barrow that he'd already done that -- twice. But okay. It was fine with him, not a problem. He'd try again. It's what he wanted anyway -- to set this right and have things running smooth.

Neil called Veronica late that afternoon. She asked him to call back again -- the Monday after Easter.

On Easter Sunday, little Mark was up early. The Easter bunny had come in the night and had eaten part of the carrot we'd left, and had drank most of the milk we'd left. It proved to be a brisk and sunny springtime day -- dazzlingly clear.

On Monday morning, Neil Called Veronica Pillsbury and arranged to meet with her at 1:00, at her house. Out on her back porch, the two talked Veronica assured him that she had only been interested in getting books for the library that reflected the community's interests, and not her own. "I know you were," Neil assured her, "I know you were."

The air was cleared. She was adamant and loud. She was full of indignation. She was proud of Camperdene. She wished messy people like her young neighbors across the road would just go away. Neil remained at Veronica's through his lunch hour. She gave him a quick tour of the house. He was shown Veronica's book collection. She was especially proud of her many cookbooks. Before Neil left, he asked Veronica about whether she would be returning to the Planning Committtee. She said she would. Neil promised her he would be bringing by a document he was working on, something that would help provide the Planning Committee with direction.

"It needs that," Veronica said squarely.

A few evenings later, Neil returned to work from his dinner and found the Planning Committee assembled in his office -- Carla Spagnoli, Ben Mulvane, Connie Pederson, Roger Peters, and Captain Cunningham. Carla Spagnoli said, "Neil, will you please stay out just a while longer? We'll call you when we need you."

Roger Peters left the meeting early, shaking his head and rolling his eyes up as he departed, indicating his dismay. He came over to the circulation desk to say goodnight to Boookman. "Though they've got every reason to be clear about what they ought to be doing," he said, "they don't seem able to do it. They seem intent on remaining confused. It's the strangest thing."

Shortly after 8:30, Carla Spagnoli called over to Neil, "You can come in now." He took the seat vacated by Roger Peters. Carla turned to Ben Mulvane: "Benjamin has something he wants to say to you, Neil. Ben?"

Ben explained the committee did not feel it existed in order to create a "Master Plan." They had already created their Mission Statement and a statement concerning guidelines for Future Artifacts Selection. Captain Cunningham, Neil was told, would be composing further "abstract guidelines." Then their job, Ben said, would be done.

Then everyone began to speak at once. Neil finally was able to say, "That's fine with me, Ben. That could be 'Phase One.' This committee could be re-labeled the 'Guidelines' Committee.You could then follow through with just the 'Service and Management' guidelines and be done quickly. A new committee, a Planning Committee, could then be organized at a later date."

Carla Spagnoli pointed out that the committe had no intention of doing any further work on service or management goals -- or anything like them. She deferred to Ben Mulvane: "Benjamin, isn't there something else you wanted to say?"

Ben: "Well Neil, when I was growing up the museum was quite different from what it is today. It's all different now." Ben said. "I don't think we need to be modifying any further the original articles of The Act of Incorporation of The Museum of the Year 1912. And we won't be needing additional staff. What makes you think, considering the town's financial situation, that you're going to get another full-time employee?"

Neil: "I don't think it. I have been advised, by an Executive Committee member, that we ought to aim to get in a Special Article for the Town Meeting in the spring, aiming to get another full-time employee in here, which we sorely need."

"Who says we need another full-time employeee here? This committee doesn't say so. And, what's this? 'Provide a welcoming, professional atmosphere in the museum. Send staff members to appropriate ocassional workshops.' What are these workshops?"

Neil explained. He told them of his having sent Mary Tuchlein to a workshop, for example. She'd gone, had taken notes, and had then reported to the others at a staff meeting. "It is good, from time to time, to have these discussions with others in one's own professional situation. I myself have gone to a few such workshops," Neil told them. "They're on Tuesday or Thursday mornings, and so I've gone on my own time, at no cost to you." (To the town, he meant, which paid his salary; no great matter: it was widely known that he put in 40 to 50 hours a week and was only paid for 35).

Carla Spagnoli: "I don't think there's any call for staff members to be going to any workshops."

Neil: "You're entitled to your opinion."

Carla: "I am."

Neil: "You are."

Meeting adjourned.

Three days passed. Mary told Neil with distraught and warning terribly apparent in her voice: "You have a call -- Carla Spagnoli."

Neil picked up the phone. "This is Neil."

"I want to add an artifact to the Artifacts Committee's Wish List."

"Shoot."

"Art Nouveau style hair brushes.

"Okay. We'll look for some."

"It's too bad you were so upset at the Planning Committee meeting the other night."

"Was I?"

"Well, I think so."

"I don't recall having been upset." I'm not going to fall for this, he resolved. Hold your tongue. Wait for Carla's next devious maneuver or denunciation, or whatever else is up her sleeve.

"Don't you have anything to say?" she instigated. Neil could hear the trembling in her voice. Ecstacy?

"No, I don't," Neil said.

"You will regret this," Spagnoli said. "I can do damage to you. You'll see."

"That would be too bad."

"Yes it would be. Good-bye."

"Goodbye."

It was all he could do to keep from blurting out, "Sticks and stones can break my bones but words can never hurt me."

That night, in bed, his darling son wanted, for a goodnight story, "The Three Little Pigs."

"Who's afraid of the Big Bad Wolf?" the father asked his son.

"I am not afraid."