The Frank Waters
Foundation
Newsletter,
Vol. VIII, No.
14 December, 2001
Board of Directors
President: Barbara Waters
1st Vice President: Imogene Bolls
2nd Vice President: Mark Rossi
Secretary: Arleene Arnell
Treasurer: Mark Rossi
Arthur Bachrach, Nathan Bolls, Marilyn Luther, Tal Luther,
Renate Collins
CONTENTS:
You
may click on a link below to view a particular section of the newsletter.
El Crepusculo
We Need YOU
FWCCC Press Release - Frank Waters Centennial Celebration
FWCCC Call for Papers
Dream Team
T.N. Luther: Super Sleuth
Frankıs Reply to Farahıs Question
Foreword: Pure Waters
For Sale
El
Crepusculo
The following is an excerpt from a new posthumous collection of essays,
speeches, and editorials to be published in May 2002 under the title Pure
Waters: Frank Waters and The Quest For The Cosmic. The essay describes Waters'
experience as the editor of a Taos newspaper between 1949 and 1951, and is
strongly reminiscent of some of Jack Turner's fictional problems in the author's
The Woman At Otowi Crossing.
What a trying and yet exciting winter [1949-50] it was for me.
The old flat bed press often broke down; the Linotype was always squirting lead,
necessitating hours for repair. There was no folding machine. We had to fold by
hand the printed sheets as they came off the press. I was never able to leave
the shop until midnight on press day, walking home in freezing cold through the
unlit plaza and street, through the dark snowy wilderness that is now a public
park, to fall into bed exhausted. But what a sense of achievement we all felt
the greatest reward of small-town newsmen; we had finally put to bed another
issue of El Crepusculo.
The staff in the
front office included several notable characters who covered all of our three
racial groups with their different languages, traditions, and customs. Joe
Fulton was our top-notch reporter for the major English section. He loved
people, knew everyone in town, and possessed a file-cabinet memory. If there is
anyone capable of writing the intimate history of Taos in that period, it is
Joe.
The Spanish section of two pages was edited by Felix Valdez,
who like his father before him had worked on previous papers. A little, courtly
man, he was an authority on the Spanish language, both as spoken in Spain and
the current idiomatic Spanish of New Mexico. He possessed an uncounted store of
old proverbs and folk beliefs, and was especially adept at reporting velorias
with a literary flourish. For his section we obtained cartoons drawn by J.W.
Marquez, a young man from a mountain village who had wandered into the office
after taking a correspondence course. His weekly cartoon "Pepe y Pancho"
portrayed two characters speaking in old colloquial Spanish, and depicting the
simple, seasonal life of his mountain village.
For Indian coverage we received a weekly column from both Taos
Pueblo and Picuris Pueblo.
Spud Johnson's "Horsefly" provided a page of humor, and
Gertrude van Tijn's world news a digest of what was going on in the world
outside. To counteract the other local paper's photographs of distressing car
accidents and scenes of murder, I began the custom of featuring on the front
page a photograph of the mountains or the Rio Grande, a huge Penitente cross,
sacred Blue Lake, or a hedge of wild plums in blossom.
My own chores were varied. I helped Joe with spot news, wrote
feature articles and book reviews, edited all copy, read galley and page proofs,
and spent Sundays writing two or three editorials. I continued to build up the
paper: increasing the standard seven-column pages up to fourteen or sixteen,
with forty-nine percent advertising, and a circulation of 3,000 including
subscribers throughout the United States and several foreign countries.
Every month that winter I sent Edward Cabot [the newspaper's
owner] a full report of our progress, with suggested ways to reduce operating
costs and increase circulation. To these he never replied. I didn't understand
why until he returned, evincing his displeasure. He wasn't concerned about
putting El Crepusculo on a paying basis; he wanted to use its annual
deficit as an income tax write-off.
Tension between myself and Cabot began when he settled
permanently in Taos, building a new modern house, and spending every day in the
office. Publishing El Crepusculo now began to give him a sense of status,
an itch for power, a feeling that through it he could mold public opinion. He
began to give me illiterate editorials, which I threw into the waste basket. One
of them created a rumpus. It demanded that the whole German race be obliterated
as a result of the Nazi atrocities. I refused to publish it, and Spud and Mrs.
Van Tijn agreed with my rejection. Charlotte [Cabot's wife] was indignant; she
reminded me that I had no business refusing the publisher of a paper, which he
had bought and was wholly financing, the right to express his own views. The
editorial was not printed, but it left a bad taste in all of our mouths.
From time to time Cabot also sent to my desk atrociously
sentimental poems written in ungrammatical English. I referred them with
deplorable tact to Charlotte, who in turn gave them to Spud to rewrite. We had
moved into larger quarters, and Spud was in the office continually, writing and
setting up his "Horsefly" with Charlotte. More and more the Cabots relied upon
him for support, and to rewrite their occasional editorials, poems, and
articles. So gradually there developed a noticeable rift between the Cabots and
myself...
We should have known [the newspaper's] fate from its name. For
el crepusculo means not only the crepuscular light of dawn but of evening. How
much fun we had, though, in its twilight hour! F.W.
We
Need YOU
Much
of this December newsletter is devoted to details of the FRANK WATERS CENTENNIAL
climaxing at the end of July 2002; other relevant events will occur during the
year of 2002 in Waters' hometown of Colorado Springs, where he attended Colorado
College, and at the University of New Mexico, where most of his papers and the
Frank Waters Room are located.
Important writings will be published including at least two
books on Waters' favorite concepts of universal unity and development of a
higher consciousness worldwide, which desperately need actualizing in the real
world today if we are to survive. These permanent records will help to serve as
guidelines for our future. Publication of Waters' posthumous Pure Waters:
Frank Waters and the Quest for the Cosmic is underway, with a release
date of May 2002.
Honorariums for New Mexico's top creative writers have begun
to be contributed in the form of $1,000 sponsorships of individuals. The first
of these, for instance, is John and Marilyn McConnell's $1,000 sponsorship of
speaker Rudolfo Anaya. Each of the participants listed in the fact sheet article
here needs some kind of financial sponsorship for this event.
Entertainment, housing, publishing, printing, advertising,
postage, bronze souvenir medallions you name it. We need it. Any amount of
money to cover Centennial costs or FWF operations will be appreciated. Just send
a check made out to the Frank Waters Foundation Centennial Committee (FWFCC) or
to the Frank Waters Foundation (an educational non-profit organization committed
to creativity), and enclose the above donor form. For your benefit in making
this tax deductible contribution, our non-profit tax identification number is
86-0723866.
Again, we sincerely hope you will offer your financial support
in the near future, and that you will take time to join us in Taos for this rare
celebration next July 25 through 28. Activities elsewhere will be detailed here
and on our Frank Waters website as soon as details are firm. We are especially
grateful if your contribution already has been made in the earliest stages of
our all-out effort.
Thank you!
FWCCC Press Release
Frank Waters Centennial
Celebration
FRANK
WATERS CENTENNIAL: THE MAN AND THE MYTH (1902 -1995),
a four-day event, will honor the one hundredth anniversary of writer Frank
Waters' July 25 birth date with a gathering of distinguished writers and
scholars. They will speak, read papers, and engage in a panel discussion on
seven topics relevant to Waters. Major festivities will include dinner with
guest speakers on Saturday and an outdoor barbecue on Sunday. Locally and
statewide, July 25 has been proclaimed Frank Waters Day. Events are open to the
public.
Dates of
this Centennial are Thursday, July 25, 2002, through Sunday, July 28, 2002.
Activities for the first three days will take place at the Mabel
Dodge Luhan House in Taos, New Mexico. The fourth day of festivities, a modified
Mountain Man event, will be held outdoors at the Frank Waters home in nearby
Arroyo Seco.
Among those participating will be Tony Hillerman, Rudolfo
Anaya, John Nichols, Denise Chavez, Max Evans, Vine Deloria, Jr., Alexander
Blackburn, Thomas Lyon, Joseph Gordon, Jose Martinez, William Edelen, Imogene
Bolls, Mark Rossi, Rick Aragon, John Carson, Barbara Waters, and Tal Luther, who
is Chairman of the Frank Waters Centennial Celebration Committee (FWCCC).
Topics to be discussed will focus on the following: Frank
Waters the Man, Frank Waters the Myth, Waters' Depiction of Indians, Waters'
Depiction of Hispanics, Waters' Mysticism, Waters' Use of Myth, and Spirit of
Place as Waters' Creative Inspiration. Papers are encouraged. Contact either
email or website addresses of the FW Foundation.
Keynote speeches, papers, and tributes prepared for the
Centennial will be published to provide an ongoing, permanent record of the
esteemed author, who has been called the "Grandfather of Southwest
Literature."
This is in keeping with the educational and creative goals of the Frank Waters
Foundation, which conducts workshops, provides temporary housing for artistic
persons, and publishes books. Pure Waters: Frank Waters and the Quest for the
Cosmic, a posthumous book by Waters containing previously unpublished
essays, speeches, and editorials, will be published in time for this
celebration. Sculptor Mark Rossi will cast a bronze tribute medallion to be sold
as a Centennial souvenir.
Room accommodations are available at the historic Mabel Dodge
Luhan House, 505-751-9686.
For
further information contact FWCCC, P.O. Box 1127, Taos, NM, 87571, 505-776-8117,
505-776-2356, tnluther@newmex.com, fwaters@laplaza.org or frankwaters.org.
FWCCC Call for Papers
You are invited to participate in the FRANK WATERS CENTENNIAL:
THE MAN AND THE MYTH (1902 - 1995), to be held in Taos, New Mexico, on July
25-28, 2002, in honor of the author's work and birth date, July 25, 1902.
Speeches, reading of papers, and a panel discussion by leading writers (such as
Rudolfo Anaya, Tony Hillerman, and John Nichols) and scholars will take place at
the Mabel Luhan House during the first three days. A barbecue and entertainment
will occur outdoors at the Frank Waters residence on the last day, a modified
Mountain Man event.
Participation will consist of submitting one original
unpublished paper to be read by a selection panel. If accepted, this paper will
be read by its author at the Mabel Luhan House and published. Maximum length of
papers is twelve (12) double-spaced pages, with a minimum of six (6) such pages.
Reading time will be fifteen (15) minutes with a short general discussion period
to follow. Due to publication timelines, we are striving for a deadline of April
1, 2002 (NEW), for all papers. Entries should be mailed to the Frank Waters
Foundation, P.O. Box 1127, Taos, NM 87571 Let us know as soon as possible
if you plan to submit a paper. Seven topics for papers are offered:
- Frank Waters the Man
- Frank Waters the Myth
- Waters' Depiction of Indians
- Waters' Depiction of Hispanics
- Waters' Mysticism
- Waters' Use of Myth
- Spirit of Place as Waters' Creative Inspiration
The Committee does not make travel or lodging arrangements. We
do encourage participants to stay at the Mabel Luhan House, 505-751-9686. To our
regret, we do not have funds to offer honorariums to those submitting papers.
But we know this will be a unique educational opportunity and an entertaining
experience. We look forward to your involvement as an admirer of Frank Waters'
literary work, and hope that you will share this Call For Papers with other
potential participants as well as encourage others simply to attend.
Periodically, we will be sending out further details including registration
forms connected with our Celebration. We hope to see you there!
The Frank Waters Centennial Celebration Committee
505-776-8117 or 505-776-2356
fwaters@laplaza.org
Dream
Team
Working and socializing with Tal and Marilyn Luther are a joy.
The pair has worked together constructively for so long that they are indeed a
Dream Team who gets a job done with little or no friction, besides enriching
social events with their own pure enjoyment of the moment. Marilyn has an
appropriate joke for almost any occasion. And Tal will have something pertinent
to say about literature, art, classical music (Mozart is his favorite), or
Muggins, their curly-haired poodle mix who rules the roost. Although he politely
remains in the car, Muggins gets to ride along on scenic Sunday drives to Red
River for prime rib at Texas Red's or to Angel Fire on a week night for
barbecued pork. He expects, and gets, his due.
Marilyn is a fine hostess, a gourmet cook, and a well-known
artist who shows her oil paintings at Susan Wilder Fine Art Gallery in Taos and
Johnson's Gallery in Madrid, New Mexico. Her work has attracted numerous
collectors; and in 1998 one of her landscapes was awarded first place in
representational art at the select "Taos Invites Taos" show, part of an annual
fall arts festival, where year after year she has been invited to display her
paintings. "My work has been called representational in a contemporary
manner," she clarifies. Influenced by expressionists and Van Gogh, her
landscapes are "homages to Southwestern light," according to one art critic.
Marilyn says, "For me, all things are spiritual, and I try to put a sense
of joy and peace into every painting."
Her large easel
looms to the right of her husband's desk, and her new computer is tucked in
opposite his work space. He says, "It's been hard for Marilyn to paint full
time. Besides raising a family, she has always helped me in my business."
At one time Marilyn worked for the government near
Independendence, Missouri, at a location shared with Remington Arms Company
where Talmage Luther was employed. Introduced when her boss engineered a
meeting, the couple later married in 1959; their only child, Faith, was born in
1963. Tal, a New Englander by birth and a Yale gradulate, went on to become Wage
Administrator at Remington, a subsidiary of DuPont. After frequent visits to
northern New Mexico and Tal's retirement in 1986, the Luthers moved permanently
from Prairie Village, a suburb of Kansas City, Missouri, to Taos.
"I never took any art instruction at Graceland College in
Iowa," Marilyn explains, " since my parents cautioned me that artists
starve to death." And that's about right, usually. I had a natural talent
and the inclination, but didn't consider it part of my life until a neighbor
gave me a starter set of oils for Mother's Day as she thought I'd done so much
for her. I cannot remember why she thought that, or how she knew it was the
perfect gift. I didn't cry when she gave it to me, but tears poured down my face
when I opened its lid and saw the oils and accessories.
"Painting then possessed me like a fever. I cooked and
kept our place looking neat, and cared for my husband and baby, but every single
spare minute was spent with those paints. I was filled with energy and stayed up
late. Then I almost got colitis, and almost is bad enough for anyone. I left
painting alone until I was well. When I went back to it, I found that I had
control and discipline, and my priorities were in order. I have learned that you
cannot really be a good painter without this control."
Her husband
interrupts, "Please, Marilyn. Please! Come and help me with this."
A collector par excellence who specializes in book-collecting,
Tal at one time or another has collected treasures ranging from paintings and
rugs to Indian pottery and Staffordshire china. He recently sold his Tony
Hillerman and John Nichols book collections to universities but still has the
largest Frank Waters collection in the world, numbering more than 1900 items.
Several times a year he issues a catalog typed by his wife and listing books for
sale, a project they have undertaken together since 1962 when Tal began his book
dealer business in earnest as a spare-time pursuit.
Paul Hutton writes in his foreword to an updating of Tal's bibliography, Custer
High Spots, that twenty years later it is still a "valuable guide"
and "remains the first book to consult...Luther cut through the morass of
Custer publications the vast majority of which are worthless to pick the
very best books on Custer divided into useful categories and with illuminating
commentary." In writing of Tal's Kansas City days Hutton states that the
collector was also "one of the great dealers in Western Americana." He
continues, "Luther ranked among the top of a truly extraordinary group of
bookmen. His catalogs were eagerly awaited by a host of collectors in many
fields, and none more so than the Custer collectors. His prices were always
fair, his book grading impeccable, and his knowledge of the field unsurpassed."
Luther has written another book titled Collecting Taos
Authors, which is illustrated by his wife; three monographs on Custer; and
ten articles about Santa Fe authors for Book Talk. He edited and wrote an
introduction for Important First in Missouri Imprints 1808-1858 and has
written papers like the one partially excerpted from Studies in Frank Waters
in this newsletter. He is reticent about his poetry, long an interest.
Tal shares with Marilyn a love of gardening. Their Taos home
is a casual masterpiece of good taste warmed outside with a riot of flowers
and inside with exotic orchid plants, thousands of books, paintings by New
Mexico's premier artists, and a loving snapshot gallery on the refrigerator door
featuring special friends and relatives like their three grandchildren: Zoie,
Joshua, and Haven Hensley.
As in their home, the Luthers' community endeavors in Taos
have centered on the arts. Tal has served as a top officer, on the board of
directors, or as a member of Harwood Museum, Taos County Historical Society,
Taos Art Association, New Mexico Book League, Friends of the Taos Library, and
the Frank Waters Society. In addition to participating in some of these same
organizations, Marilyn has belonged to the local garden club, and is secretary
of docents for the Van Vechten Lineberry Taos Art Museum and an associate member
of Taos Watercolor Society.
Important to us is the couple's volunteer work on the board of directors of the
Frank Waters Foundation and on the Frank Waters Centennial Celebration
Committee. With Tal serving as chairman of the latter and Marilyn as secretary,
leadership and teamwork flourish simultaneously. Exuding optimism, enthusiasm,
humor, and warmth, a typical meeting moves smoothly toward objectives. An easy
give-and-take and a free flow of creative ideas characterize interactions; each
personıs contribution is valued. Marilynıs sharp, detailed minutes and
organizational skills keep us on track. And good contacts cemented over the
years are helpful in fundraising and participation. When Tal says he'll try to
get Tony Hillerman as a speaker at our Centennial, for instance, he gets his
man.
The humanitarian goals of this creative Dream Team, along with its humanity,
make it one of the odds-on favorites to prevail in our great game of Life.
Barbara Waters
T.N.
Luther:
Super Sleuth
These paragraphs are excerpted from Luther's long essay "Updating Terence
A. Tanner's Bibliography Frank Waters," followed by a relevant statement
from Waters.
One advantage of being a book dealer as well as a collector is
that you handle many more copies of books than the average collector. Thus you
may make certain discoveries as to variant printings, or be able to solve
problems the answers to which have eluded bibliographers.
We all owe a great deal of knowledge to Terence Tanner's great
bibliography of Frank Waters. It is truly a monumental work, especially valuable
in giving us insights into Waters' keen mind and those of his publishers by
quoting much of their correspondence relating to the eventual book publication.
There have been some discoveries, however, that had eluded
Tanner, most probably due to lapses of Frank's memory or the incomplete records
of the publishers of Waters' books whom Terry consulted. Most of the discoveries
have been of a minor nature, but should be of interest to the serious collector.
There are three Waters contributions to periodicals which
received no listing in Tanner. The scarcest of these appeared in Taos: A
Deluxe Magazine of the Arts, 1951. This magazine was put together by the
then Taos poet-printer Judson Crews, and was a brilliant idea. It contained
Frank Waters' "Masks Without Meaning," a truly beautiful and
perceptive essay on Taos.
Although intended to be a periodical, it exists in only this first issue. A
letter from its editor indicates that there were only 125 copies issued, mostly
given to those who had paid for advertisements in the magazine. The magazine
consisted of loose pages of different colored stiff paper in a folder. It was of
small folio size, and, in addition to Frank's essay, contained an original
one-page essay on Victor Higgins by Mabel Dodge Luhan.
There were original poems by Wendell Anderson, Spud Johnson,
Scott Greer, and Crews himself, among others. There was a short article by Spud
Johnson on Carl Van Vechten, and reproductions of art work by Tom Benrimo,
Dorothy Brett, Victor Higgins, Beatrice Mandelman, Louis Ribak, Alfred Rogoway,
Henry Miller, Rebecca James, and others. A wonderful photo of Andrew Dasburg and
Victor Higgins playing chess, and others by Mildred Tolbert, were included. It
is sad that the magazine was a commercial failure, as this was the beginning of
the golden age of modern art in Taos, and there were many accomplished writers.
In point of time, there was a Frank Waters letter in Playboy
Magazine of November, 1967, lending support to Vine Deloria, Jr's book Custer
Died for Your Sins.
Finally, "A Tribute to Brett," appeared in the Taos News, March 21, 1974,
of six rather lengthy paragraphs. . .
Cynthia Farah made a major contribution to Southwestern
literature when she edited Literature and Landscape: Writers of the Southwest,
published in 1988 by Texas Western Press. In addition to her photographs of
fifty major authors, each author provided an answer to the question, "What
role has the Southwestern landscape played in compelling you to write?"
Most major authors of New Mexico, Arizona, and west Texas responded, including
Frank ...
T.N.
Luther
Frank's
Reply to Farah's Question
The belief that the global earth is a living organism has been
held since ancient times by the great civilizations of the Middle and Far East,
and by all Indian America from Central America to our own contemporary
Southwest.
I adhere to this belief myself, rather than to the dominating
Anglo-American premise that the wealth is inanimate matter, mere real estate, to
be exploited at will.
Certainly every continent, country, and region has its own
distinctive spirit of place, its own rhythm, which it imparts to its species of
animals, plants, and human races. The drum beat of native Africa is different
from that of Indian America, although both echo the pulse of one common life
force.
The vibratory quality of even a neighborhood or barrio in a
large city, apart from its cultural milieu, can be sensed immediately. It exudes
a feeling of peace or hostility without apparent cause, just as we feel
attraction or repulsion to a person we meet for the first time.
Places have always affected me like this. Not only the
Southwest as an area which seems to imbue the strongest creative life force, but
the various localities which have drawn and held me. All of my books, in some
way, are about these places and about persons who have been affected by their
distinctive influences. FW
Foreword
-
Pure
Waters: Frank Waters and The Quest for The Cosmic
For Frank Waters fans, the word "continued" will automatically
insert itself before 'quest' in the subtitle of this book. They know that his
life and writings were one continuous search for cosmic awareness, whether
conscious or unconscious. He envisioned a future brightened by an advanced state
of human consciousness. He foresaw and at times experienced a cosmos or
universe distinctive for its order, intuition harmony, and unity superseding
duality. On his granite memorial are carved his words from The Man Who Killed
the Deer, "We will meet again, as equal parts of one great life."
In the subtitle of Mexico Mystique he calls this giant step forward
"The Coming Sixth World of Consciousness."
Richard Bucke's Cosmic Consciousness, published in 1901,
strongly influenced Frank from his twenties onward. Bucke contended that four
stages of intellect exist. According to him, the lowest is that of the senses,
derived from basic "percepts." Next, stemming from more advanced
"recepts," is
the simple consciousness of animals. With his superior "concepts," man has
reached the third level, consciousness of self. And a few persons have achieved
the final stage our eventual goal of cosmic consciousness, or the
"intuitive mind."
A century after the book was published, mention of these terms
is made here in Frank's speech "Words." Bucke thought that his friend
Walt Whitman possessed traits typical of those who have touched upon the highest
stage. Most important are intuition, morality, compassion, spirituality,
simplicity, charisma, optimism, oneness with nature, openness to revelation, and
lack of self consciousness that inhibits creativity. Frank Waters, too,
evidenced these qualities in his long search for illumination. They can be
sensed in the following pages.
The order of the cosmos fascinated Frank, as readers will
notice here in the final chapter. This, his favorite essay, is the culmination
of his many years spent researching the Mesoamerican calendar and related
civilizations. Frequently called the Aztec Calendar, its mathematics actually
predate that civilization by centuries. These convoluted calculations are based
upon precise astronomical observations, not astrology. Correlated astrology,
which contributed to the downfall of the Aztecs, Waters viewed from a mytho-psychological
perspective. What he truly marveled at was the larger, orderly view that linked
age to age from ancient to modern times and beyond, an achievement resonating
with the highest level of consciousness. It is not so strange after all to find
a strong rational element balancing the mind of a man who was preponderantly,
and by heritage, an intuitive. And it will hearten the non-rational to learn
that this chapter reads just as well when numbers are merely skimmed as it does
when they are carefully studied. Itıs the wonder that matters.
The human role in a self-inclusive universe is that of
learner. Waters always regarded himself as such. As a grown man writing The
Colorado, for example, he repeatedly referred to himself as "the
boy." In Mountain
Dialogues, chapter by chapter he passed on his learnings to date, several of
them mathematically oriented, as he does here. He disliked being called a
"mystic,"
possibly because he saw himself not as a master of the esoteric but as an
eternally questing student of the universe.
For change of pace, this book alternates essays with speeches
and editorials. Generally, his essays were to Frank teaching stories which had
helped to point his way. His speeches reveal the intricacies of his mind and
writing. The editorials selected are the twinkle in his eye, noticed by anyone
who ever met him. Imagine. In the same book an editorial about pushing a
wheelbarrow up Pikes Peak and a speech comparing themes of Buddhism to American
Indian religion. This was the complete unabridged Frank Waters: a brilliant,
many-faceted enigma.
His essays on Houston Branch, El Crepusculo, and Dr. Bright
help us to see how Waters practically and intuitively learned it was best for
him to remain a maverick loner. "River Trips," "Notes on Los
Angeles," and "The
Manby Mystery" demonstrate not only his mastery of descriptive writing but the
influence of place upon every aspect of his growth. Waters once wrote, "All
of my books, in some way, are about these places which have drawn and held me
and about persons who have been affected by their distinctive influences."
"The Horses" and "The Guru and the Fox" convey his love of nature and animals,
as do several editorials. In his fine speeches "Visions of the Good,"
"Prelude
to Change," and "The Regional Imperative," he shares with readers part of his
greater vision. All is a merging of the human role on earth with one's universal
obligations. . .
Barbara Waters,
editor
Arroyo Seco, New Mexico
(excerpt)
FOR
SALE TO BENEFIT THE FOUNDATION:
Early
School Days in Colorado Springs: with Frank Waters and Charles Hathaway,
video tape, $30 + $3 postage.
Sundays in Tutt Library with Frank Waters, introduction by Joseph Gordon,
softcover $20. Frank's speech given in Colorado Springs in 1985. Last available
copies. Book collector Tal Luther says, " . . . a valuable collector's
item."
Signed Frank Waters posters, $35 + $5 postage. Unsigned, $20 + $5
postage.
Fechinıs Frank posters, framed, glass, $500 each.
Notecard packs (6 cards) featuring Fechin's portrait of Frank, $10 + $3
postage each. Notecards by Judith Bronner of Waters surroundings,$2.50 each.
Taos Landmarks and Legends, text and 115 pen-and-ink drawings
(including the Frank Waters Foundation) by Bill Hemp, clothbound $34.95,
softcover $19.95.
First editions of Brave Are My People; Flight from Fiesta; Frank
Waters: Man and Mystic; Terence Tanner's bibliography Frank Waters; Back-Alley
Boys by C. Hathaway; Celebrating the Coyote by B. Waters, and Advice
for the Climb by Imogene Bolls.
Bronzes: Bust of Frank, $2,500; Bronze Sculpture of Frankıs Hand,
$250; Bronze Mask, $750; Bronze Plaque, $1,000 (all bronzes by Mark Rossi;
shipping not included).
From the John Gilchriese
Collection:
1. 1 copy: Frank Waters: A Bibliography, Terence A. Tanner (HB/Dust
Jacket/Presentation/ Signed) - $100
2. 2 copies: Frank Waters: A Bibliography, Terence A. Tanner (HB/DJ/Signed)
- $90
3. 1 copy: To Possess The Land, (PB/DJ/Pres/Signed) - $25
4. 1 copy: Masked Gods, (HB/No DJ/Pres/Signed) - $120
5. 1 copy: Masked Gods, (HB/No DJ) - $100
6. 1 copy: Mexico Mystique, (PB/Pres/Signed) - $20
7. 1 copy: Book of the Hopi,
(Uncorrected Proof/Spiral Binding/Wrapper/Signed/Presentation/No Photos) -
$1,250
8. 1 copy: Frank Waters: A Retrospective Anthology, Charles L. Adams (PB/Signed)
- $25
9. 1 copy: The Colorado, (PB/Pres/Signed) - $25
10. 2 copies: Pike's Peak, (HB/DJ/Pres/Signed) - $55
each
11. 1 copy: Pike's Peak, (HB/Dam DJ/Pres/Signed) - $50
12. 1 copy: Flight From Fiesta, (HB/DJ/Pres/Signed) - $45
13. 3 copies: Flight From Fiesta, (PB/Signed) - $30 each
14. 1 copy: Flight From Fiesta, (PB/Signed ³Frank²) -
$25
15. 1 copy: Flight From Fiesta, (PB/Pres/Signed) - $35
16. 1 copy: Leon Gaspard, (HB/DJ/Pres/Signed/Fenn Ed) - $160
17. 1 copy: Leon Gaspard,
(boxed edition) - $300
18.
"Studies in Frank Waters," Charles Adams, Ed: 1 copy; Vol. XIX;
8 copies Vol. X - $20 ea.
For
more information, please contact The Frank Waters Foundation
505-776-2356
fwaters@laplaza.org
Newsletter-
2002
Newsletter-
2001
Newsletter-
2000
