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Examines the varied roles of contemporary folk artists from many regions of the world.
"Winter in Taos" starkly contrasts Luhan's memoirs, published in four volumes and inspired by Marcel Proust's "Remembrances of Things Past." They follow her life through three failed marriages, numerous affairs, and ultimately a feeling of "being nobody in myself," despite years of psychoanalysis and a luxurious lifestyle on two continents among the leading literary, art and intellectual personalities of the day. "Winter in Taos" unfolds in an entirely different pattern, uncluttered with noteworthy names and ornate details. With no chapters dividing the narrative, Luhan describes her simple life in Taos, New Mexico, this "new world" she called it, from season to season, following a thread that spools out from her consciousness as if she's recording her thoughts in a journal. "My pleasure is in being very still and sensing things," she writes, sharing that pleasure with the reader by describing the joys of adobe rooms warmed in winter by aromatic cedar fires; fragrant in spring with flowers; and scented with homegrown fruits and vegetables being preserved and pickled in summer. Having wandered the world, Luhan found her home at last in Taos. "Winter in Taos" celebrates the spiritual connection she established with the "deep living earth" as well as the bonds she forged with Tony Luhan, her "mountain." This moving tribute to a land and the people who eked a life from it reminds readers that in northern New Mexico, where the seasons can be harshly beautiful, one can bathe in the sunshine until "'untied are the knots in the heart,' for there is nothing like the sun for smoothing out all difficulties." Born in 1879 to a wealthy Buffalo family, Mabel Dodge Luhan earned fame for her friendships with American and European artists, writers and intellectuals and for her influential salons held in her Italian villa and Greenwich Village apartments. In 1917, weary of society and wary of a world steeped in war, she set down roots in remote Taos, New Mexico, then publicized the tiny town's inspirational beauty to the world, drawing a steady stream of significant guests to her adobe estate, including artist Georgia O'Keeffe, poet Robinson Jeffers, and authors D.H. Lawrence and Willa Cather. Luhan could be difficult, complex and often cruel, yet she was also generous and supportive, establishing a solid reputation as a patron of the arts and as an author of widely read autobiographies. She died in Taos in 1962.
This entrtaining novel brings writer Myron Brinig, Mabel Dodge Luhan, and the avant garde of 1930s Taos back to center stage.
In an extraordinary book that is also a rare autobiographical work, Eric Sloane shares his travel experiences during two trips he made from New York to his beloved Taos--in 1925 and again in 1960. The first time around, as a young man, he worked his way across America in a rickety Model T Ford, painting signs on bridges and barns to pay expenses. The story of that journey is recounted here by the revered "cracker-barrel philosopher" as he weaves his reminiscences in with an account of his journey to the New Mexican town 35 years later. Sloane offers his wry, heartfelt, and incisive reflections on America's rapidly changing landscapes and regional cultures, noting in both his charming commentary and his delightful pen-and-ink illustrations the roadside monuments he passed along the way: covered bridges in New Jersey, a "barn bridge" in Pennsylvania, early gas stations and grain elevators in the Midwest, panoramic views of the western landscape, and ultimately, views of Taos Pueblo, happily unchanged after more than a quarter of a century since the author's last visit. An immensely entertaining book, Return to Taos will delight anyone who enjoys reading about America's past and sees its artifacts as part of a vast repository of national treasures.
In 1917 Mabel Sterne, patron of the arts and spokeswoman for the New York avant-garde, came to the Southwest seeking a new life. This autobiographical account, long out-of-print, of her first few months in New Mexico is a remarkable description of an Easterner's journey to the American West. It is also a great story of personal and philosophical transformation. The geography of New Mexico and the culture of the Pueblo Indians opened a new world for Mabel. She settled in Taos immediately and lived there the rest of her life. Much of this book describes her growing fascination with Antonio Luhan of Taos Pueblo, whom she subsequently married. Her descriptions of the appeal of primitive New Mexico to a world-weary New Yorker are still fresh and moving. "I finished it in a state of amazed revelation . . . it is so beautifully compact and consistent. . . . It is going to help many another woman and man to 'take life with the talons' and carry it high."--Ansel Adams
Fly fishing guide book with photos, maps, descriptions, instructions.
The underground world of con men, winos, prostitutes, laborers, and artists has been an abundant source of material for great writers from Dickens to Bukowski. The underground world of Taos, New Mexico, is no different. In the late 1950s this mountain town was higher, brighter, poorer, and farther removed than London, Paris, or Los Angeles, but it was every bit as rich for the explorations of a young writer. Max Evans, the beloved New Mexican writer of such enduring classics of Western fiction as The Rounders and The Hi-Lo Country, returns to form with The King of Taos. Set in the late 1950s, the novel tells the stories of sharp-witted Zacharias Chacon, aspiring artist Shaw Spencer, and a circle of characters who drink, fight, love, argue, and—mostly—talk. Readers will enjoy this witty and moving evocation of unforgettable characters as they look for work, love, comfort, dignity, and bottomless oblivion.
I have this thing about places, I only ever want to be there when I'm not. Even when those places are where my life's been hardest and terrible things have happened. But maybe that's what makes them so familiar. Nothing forges intimacy like suffering with another, and that's how it is with Taos. I suffered here. I walked her streets and on the back roads till everyone knew me and no one liked me. Maybe, it was what I did, because I was dying and wanted everyone to see, wanted them all to know. Wanted to show them, the best way I could, the festering scar in my brain, the one that came before all the rest, the scar of scars, mine. Showing them my death, baring it all like that in the streets for them to see, comforted me, somehow. It quelled my brain, the beast. In the mornings, I made phone calls looking for death. Sometimes, I used the payphones in the plaza. Mostly, though, I used the landline at Café Tazza down the street. Once someone answered and agreed to deliver, I sat on the railroad ties in the dirt of the municipal parking lot or at the ketchup and mustard stained picnic tables outside of Smith's to wait for it. And once it was in my sweaty hand, I tasted it in the bathroom stall. After that, there was stumbling through town with the hiccups, a slink in my step and mischief in my eyes that hadn't been there before. I became something else for the second parts of those days, something malevolent, death's own body and comfortable in my skin.
Winner, Spur Award for Best Contemporary Nonfiction (Western Writers of America) A Land Apart is not just a cultural history of the modern Southwest—it is a complete rethinking and recentering of the key players and primary events marking the Southwest in the twentieth century. Historian Flannery Burke emphasizes how indigenous, Hispanic, and other non-white people negotiated their rightful place in the Southwest. Readers visit the region’s top tourist attractions and find out how they got there, listen to the debates of Native people as they sought to establish independence for themselves in the modern United States, and ponder the significance of the U.S.-Mexico border in a place that used to be Mexico. Burke emphasizes policy over politicians, communities over individuals, and stories over simple narratives. Burke argues that the Southwest’s reputation as a region on the margins of the nation has caused many of its problems in the twentieth century. She proposes that, as they consider the future, Americans should view New Mexico and Arizona as close neighbors rather than distant siblings, pay attention to the region’s history as Mexican and indigenous space, bear witness to the area’s inequalities, and listen to the Southwest’s stories. Burke explains that two core parts of southwestern history are the development of the nuclear bomb and subsequent uranium mining, and she maintains that these are not merely a critical facet in the history of World War II and the militarization of the American West but central to an understanding of the region’s energy future, its environmental health, and southwesterners’ conception of home. Burke masterfully crafts an engaging and accessible history that will interest historians and lay readers alike. It is for anyone interested in using the past to understand the present and the future of not only the region but the nation as a whole.