Purcell and Elmslie, Architects

Firm active: 1907-1921

Minneapolis, Minnesota :: Chicago, Illinois
Philadelphia, Pennsylvania :: Portland, Oregon

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Editor's Note:  Yes, this is a blog.  Some webs call this the "What's New" page.  I  jot down informal musings about what discoveries came to hand as I added material, and reminisce about the twenty-plus years of experience along the Path.  These Grinds are and always have been intended to be very personal, off-the-cuff notes made for myself, mostly, as a way to keep perspective on my own experience, knowledge, and understanding in the Caravan.  In short, while there are archival references and anecdotal reports sprinkled about here and there, much said here in the Grinds falls in the category of foggy reminiscence, speculation, or opinion. Have fun.

The Last Grind
 

A chair, somewhere in space
Stand Up and Dance. Lest you think that the journey in the Caravan ever becomes stale, there are always surprises to lighten the mind and inspire the heart. Witness the above chair. Recently a descendant of Purcell wrote to me attaching several images of something that is wholly new to my eyes and, I suspect, most everyone else's at this point. Let the celebration begin! The family history of this piece says that it derives from the Minnesota era, when it was made by William for Edna as a reading chair. That would mean it was originally in Lake Place and survived the train wreck that took out so many precious objects when the Purcell family was relocating from Pennsylvania to Portland, Oregon. Visually in favor of this origin is the typography of the lettering; also, the same dark mahogany wood was favored for the lamp that would have stood next to it in the living room, as well as the "surprise point" chairs for the writing nook and elsewhere in the vicinity. The Rose Valley house in Pennsylvania was more of a cabin affair, and furnished with ordinary commercial wooden chairs and tables, so this piece would have been wholly out of place there. There is the possibility of having been made for Georgian Place in Portland, Oregon, but the form is so much of the 1910s that origin seems much less likely.
 

Reading chair for Edna S. Purcell
Purcell & Elmslie, architects
Source: Private collection
Edna S. Purcell, sitting by the fireplace in Plain Jane
Circa 1914
Source: Images, University of Minnesota Libraries

Note: The mural by Charles Livingston Bull and the additional wood trim have not yet been added, so this photograph can be dated prior to 1916, yet after 1914 because of the presence of the little child's bench. Recognizing that small piece of furniture is essential for understanding the sense of family as a function of living beauty that the Purcells meant to create in their home. As yet it has not been restored to Lake Place by the Minneapolis Institute of Art, even though pretty much the same amount of photographic evidence exists as for the cube-shaped chairs which were re-created.
 
The only "easy" or "reading chair" visible in the archival photographs is a Plain Jane whose traditional lines have always jarred with my sense of the living room at Lake Place. Since there are no drawings of this newly revealed chair in the Purcell Papers, we can only take as a starting point the family report of this piece originating in Minnesota -- however visually compelling that may be. While a detailed investigation is beyond the resources of a Grind, we can do some sleuthing through the available imagery.

 
Living room, with Plain Jane waiting for a suitor, and the early cube shaped chairs
Edna S. Purcell residence
1915

This photograph can be affirmatively dated as after 1915 because the "Chicago River" painting by Albert Fleury is seen hanging above the tall lamp.  This image is also interesting for the presence of a carpet, likely brought down from the dining room, overlaying the regularly present one in order to to effect a greater sense of width. The narrowness of the room does not rest well with the camera lens. The image of the living room taken for the Minnesota 1900 book is a most unfortunate example. The photographer brought down an old Oriental carpet from the upstairs bedroom and laid it like a zebra stripe across the open field of the living room rug. I was astonished that the museum would publish such an error in judgment, but it was an illumination of the same depth of field issue in photographing the room to which Purcell & Elmslie responded in the above image. Some things are just meant to be experienced in person, rather than facsimile. 
 

Chair
Minnesota Phonograph Company
1915

Note: The feet are now missing their bottom pad blocks.

Two factors sway toward the Lake Place theory. First, there was an accounting number (#256: Edna S. Purcell residence, alterations, decoration, furniture ) issued to a furnishings project undertaken for the house in 1915. The results of this project can be studied through the extensive correspondence with the various artists and craftsmen who undertook the various elements of this work, and that information then correlated with the available archival photographs to determine the point where this chair may possibly have been manufactured. The notes accompanying the adjacent images indicate this trail.

Second, there is only one other chair form similar to the one in question. P&E furniture, like other of their designs, tends to run in stretches of  continuity. There are periods of tall rectangular back chairs, for example, characteristic of the 1910-1914 period, then shorter triangular back shapes that appear from 1914 to 1917. Compare the cube-shaped chairs that appear in the earliest Lake Place photographs with those done for the Director's Room of the Merchants National Bank in Winona, Minnesota. Lake Place and the bank were on the drafting board at the same time in 1912.
 

Chair and sofa
Minnesota Phonograph Company
From The Western Architect, July __, 1915.

 
Director's Chair
Merchants Bank
Winona, Minnesota  1912
Source: Minneapolis Institute of Art web site

Variations on a theme, the version in Lake Place having a solid back panel and lacking the ball feet. My feeling is that the Winona chairs were slightly smaller in size, too, as they were for a different, more intermittent use. They are tight to sit in, encouraging formal upright attention, and not comfortable for lounging, or even extended visiting, as the chairs in Lake Place would presumably have been intended to be. The reproductions presently in Lake Place fess more toward the Winona chairs. My impression from being in them is that they are under scaled. However, the originals are long since vanished, so the only tangible comparison available to the craftsman was the bank chair and old photographs taken with the distortion of a wide angle lens. Perhaps irrelevant now, anyway, as they are merely for gallery eye candy and no one uses them as living things.
As it happens, the only similar form to the William/Edna piece is a chair made for the sales room of the Minnesota Phonograph Company, whose position in the accounting sequence is #258. The forms are not identical, either. The sides and back of the William/Edna chair are upholstered with fabric, whereas the Edison Shop chairs are solid wood -- something more durable for a commercial public space. The tapering foot pads of the William/Edna chair are decidedly more delicate, too, than the block pads of the sales room chair. However, the chairs for the other Edison Shops in Chicago, San Francisco, and Kansas City are quite different; only the chair for the Minneapolis location has resemblance to the William/Edna piece. With these considerations, the production of the chair for Lake Place appears to be probable, and thus aligned with the oral history. Since the Purcells purchased art and executed new furniture over a three year plan, it could well be that this reading chair was a very late production given the refinement of the form. There may still be final photographic proof in situ remaining yet in private hands, which are said to be looking, so the jury is still out.

This matter deserves better study than a quick news report in the Grind, but I thought to mention these factors as we passed by. Ultimately there are still great moments of happy discovery left to be encountered along the way. Many furnishings from other P&E interiors remain unaccounted for, as well, if they continue to exist, most notably, the furniture from the Kansas City and San Francisco Edison Shops, the Alexander Brothers executive offices, the exquisite Millar pieces (which are likely still in the possession of the family). And there is likely a lot more beyond that; many Parabiographies entries refer to furniture being made whose location, if surviving, is presently unknown. I am now examining this record in detail, making a list, and checking it twice, to determine what else might conceivably be out there. Whether any of these things can be tracked down, who knows? And then, there is always the possibility of another surprise email.

On the other hand, I have been approached numerous times over the decades by antique dealers who wanted my imprimatur on objects that clearly were not by P&E. Best to avoid that bog.
 

Front elevation, showing porch addition and front entrance
 J. S. Ulland residence, alterations
Marion Alice Parker
 Purcell and Elmslie
 Fergus Falls, Minnesota   1916
Photograph © 2007 by Tom Shearer. All rights reserved.

Team, Reprise. A graduate student in art history has completed a master's thesis on Marion Alice Parker, a key Team member, and I am still going through the work. However, it is good to note that academic research is now focused on those contributors to the P&E office beyond the principals.
At first glance, one thing that I do not agree with is the feminist notion that account of Marion Parker has been diminished or ignored because she was female. Scholars have usually mentioned her all the while when any individual members of the Team were identified; indeed, the presence of Marion, the masculine spelling of her name notwithstanding, has almost always been acknowledged because she was a prime example in an era when that gender was scarce in architect's office due to the cultural norm of the time. She has, in fact, been given more attention than Lawrence Fournier, an Elmslie favorite, or Fred Strauel, the ever stalwart, who worked for both Purcell and Elmslie continuously over many decades. I may get pilloried for this view, but Parker was an equally valuable contributor to a democratic environment, not someone who should be thought left out because she was a woman. Talented and dedicated, in addition to her work on P&E projects she did run several of her own jobs through the P&E accounting system, particularly
the J. S. Ulland, alterations, Fergus Falls, Minnesota (1919). New images of this remodeling supplied by Tom Shearer are now on that page.
 

Front door panel
 J. S. Ulland residence, alterations
Marion Alice Parker
 Purcell and Elmslie
 Fergus Falls, Minnesota   1916
Photograph 2007 by Tom Shearer. All rights reserved.		 As has been pointed out by another very competent (and female) architectural historian, it is true that Marian Mahony Griffin did not receive the level of attention to which she was deserving at the time as a first tier player on the field. Yet it is not as simple as pointing to her gender and saying boorish males ignored her. I think it is a much more complex an issue than that, the enormous respect I have for her work notwithstanding. Certainly her talent was a potent presence in the Wright studio and when together with her husband, Walter Burley Griffin, she clearly was a determining factor in the work of their own joint practice. She was right there on the cutting edge when it mattered. There are few presentation drawings by others in the progressive movement that even begin to convey the transcendent charge present in hers, done on silk like gossamer crystals of thought. She lived longer than many of her colleagues and like Purcell was she, too, could have been a voice across the International Style wilderness. And I think she wanted to be, too, but was too overwrought to be articulate. In truth, she seems to have been a bit distraught later in life, which made communication with her problematic on some levels. Her "Magic of America" manuscript, the main written delivery of her thoughts, is difficult to follow even though profound at its core. Purcell said it needed to be cut by two-thirds and it still was still going to be more metaphysical (Read: Anthroposophical woo-woo) than architectural in focus. She does appear to be, at least to my eyes, well served by H. Allen Brooks in the seminal and still primary Frank Lloyd Wright and his Midwest Contemporaries.

In any event, I look forward to spending some time with the new assessment of Parker. I have read once through the manuscript, but this contribution deserves some meditation and not a drive by review. What is best and good without question is the addition to the knowledge base, and the connection of her early years in Minnesota with her final ones as part of the handicraft arts colony in Laguna Beach, California. Establishing a framework of continuity, including the odd (as in the sense of one-off, how did it get there?) production of a house in Fort Collins, Colorado, synthesizes streams of information that were previously disconnected. This thesis resolves some uncertainties propagated because of limitations in earlier source materials and promotes significantly the study of Marion Alice Parker. New, heretofore unknown details are now to hand. On balance the Caravan seems well served. As I say, however, for more comment than that I want to spend enough time to honor rightly the effort spent by the graduate student. And, perhaps, marshal one or two disagreements toward arguments that attribute heavier design participation in some P&E commissions to Parker just because her initials are on construction documents. Those kinds of drawings come late in the conceptual game, and were often referred to as "tracings," which lends an eye to the earlier generative function of sketches now perhaps missing from the assessable evidence.
Carry on. Speaking of the Caravan, the origin of the term with Louis Sullivan, neatly encapsulating the union of both companionship and continuity, is noted by Purcell in one of three new essays that have been added to the "Review of Gebhard Thesis" that continues to be a major time sink to transcribe, yet a worthy one. 
The new texts concerning George Elmslie are:
William Gray Purcell, sitting at his grandfather's writing desk
Westwinds, 1964
Photograph by Dorothy O'Brien
A portion of Part II was already there, but has since been completed. While some scholars may dismiss Purcell as an unreliable source (I think without a lot of specific justification, too, just a perpetuation of impression) or dispute his opinions about the interactions between Elmslie, Louis Sullivan, and the evolution of capacity that characterized their association, Purcell has the undeniable advantage of delivering first person testimony. Yes, he was young, right out of college. Whatever his ability to judge through the worshipful passions of a true believer, he was a constant detailed observer of life -- something his writings reveal indisputably. His attention to qualities and characters, woven here in a review that performs more as a testament, is unique in the available source materials. Although he wrote these essays filtered through a half century of retrospection, there is still a sense of wonder and immediacy, of pride and honor in being there, that comes through from the original moment. While many manuscripts have been added here on Organica as time progressed, I think these essays are among the most substantially useful to those interested in the relationship of Sullivan to both P&E and the development of progressive design intentions in general. If nothing else, they point the reader to numerous avenues of inquiry for productive further reading. There are another forty or so pages left to type, and these include insertions by Purcell of correspondence bearing on the Gebhard draft, and also Elmslie's lament over abuse by Purcell. I will get those up.

Further additions to the site will be listed on the "What's New" page, something like the "inventories of keystrokes" that the Grind started out as over six years ago.
Not coming up. The nature of Organica, and the appearance of these little Grinds, is now changing. For years now I have been mired in a variety of health and wealth issues that interfered with my wishes for things to go well. Having encountered the teachings of Eckhart Tolle, I am finding myself drawn more to what can be done in this moment, rather than projections for moments which never come. One result of this is a great difference in the life of this web site. While I will no doubt continue to clean things up here as I notice them, I am shifting much of my available energy into recoding the HyperFind system from which electronic access to this material originally descends. At some point, my intention is for this version of Organica to be archived, and the updated HyperFind version to replace it. I am also reading a huge pile of literature and revisiting every research document as I index them in the automation system. I appreciate the many e-friendships and e-colleagues that have come out of these writings, and I hope they remain active. For now, though the Caravan always goes on, this is the Grinder, signing off.

Historical Grindstones

    The More Amusing, Memorable, and Perhaps Insightful Grinds

The Chronological Perspective

Diastro, Redux, accounting for a technical infrastructure failure and mention of many fair prospects alongside more of Tom Shearer's illustrious photographs, together with a list of important books and periodicals available from the Internet Archive, on the way to a six month silence as winter proved preternaturally dark; and Reincarnation, relating more about the forthcoming biography of Henry Babson, featuring the first audio recording to appear on Organica, further passageways from Purcell, and notes on body parts currently in the marketplace.

Om Mani Padme Hum!, bring where a Portland church by Purcell becomes a Buddhist temple, and a visit to Lawrence Fournier's house; and Scrumdiddlyumptuous, being a relish for the eye in a tribute to Caravan photographer Tom Shearer.

Pass the Ammunition, with a review la Salieri of personal events sandwiched between more fabulous images from Tom Shearer, a post card from William [Wilhelm Miller], and putting a false rumor sweeping the Winona prairie to the sticking place; and Clearing the Underbrush, with notes of properties for sale and another advance in Passageways.

Wonder of wonders. I'm back, again, which is apparently some sort of lifecycle, but more importantly through the kindness of an researcher in the Caravan we learn that something was actually built heretofore thought only a project; and A Hunting We Will Go, with comment about how hard it is these days to hire a drafter, as it was when Parker Berry might have become part of the P&E Team.

Happy New Year, sharing new photographs and information about a number of P&E commissions, with notes on the Portland era and the threat to the Woodbury County Court House, and New Thoughts for Old, in which a secret of the path become revealed to my lately surprised eyes.

Polling Day, with note of another Sullivan loss and the advent of our own P&E elections; Wabi-sabi, being a poetic irony about some missing buildings as seen from outer space; and Scudder, describing minor technical difficulties and some potential.

Eye to Eye, musings about the passage of a century in various ways, how some people have never heard about P&E, and architectural photographs as contrivances; and Precision, which nails the coffin shut on why, wherefore, thence and thither my P&E book will have to be the Heart Sutra to get the job done.

En Passant, brief comments on changes in the wind for a house and a department store, with a few tangy comments atop a reading list; Still Not There, meaning new images instead of text, together with a discussion of P&E presentation renderings; Successful Relaunch, noting the restoration of serious back-end database services here; and Buck Up, being thanks to a Good Samaritan in the Caravan for saving Organica from probable extinction.

Interim Thoughts, being notice of the publication of Purcell & Elmslie: Prairie Progressive Architects, which is based on David Gebhard's 1953 doctoral dissertation on P&E and edited by his wife, Patricia Gebhard; and Just something to take in for a moment, which is playing with technology to make the fourth dimension visible in one of Elmslie's terracotta designs and for which you will need to download a plug in for your browser; but methinks is well worth it.

Passageways 3, recounting people and places from Purcell's apprenticeship time with John Galen Howard in Berkeley, and offering the first desktop backgrounds; Passageways 4, where we see the roots of Purcell's predilection for roofs with a steep pitch; and Passageways 5, where Purcell leaves Berkeley for Seattle, a chilly and rainy place where he has a reasonably good time until his family descends en masse to get him out of there.

Daedal-dee and Daedal-dumb, just comments on adding some Elmslie (dee) photographs, posing a question for someone out there who knows the answer (my dumb), and a thumbs down on the destruction of language by cell phone; Passageways 1, being an introduction to the second chapter of what amounts to Purcell's autobiography; and Passageways 2, wherein is reprised some of the Purcell family turmoil that set the pattern for Purcell's experience of women for much of his lifetime and a question tendered concerning the relevance of homosexuality in the achievements of P&E.

Aside from some technical notes concerning restoration of the web server after an untoward event, there are two brief notes: Seeing is Believing, where advanced noggins at the United States Air Force validate four-dimensional consciousness in the form of teleportation, and Progressive Report, introducing the exceptional detail photographs of the National Farmer's Bank in Owatonna gifted to our readership by Tom Shearer.

Web Ring Around the Poem, which starts out by showing where all those angles in the leaded glass come from and links to other establishments where our Caravan also has sweet watering holes; and Between Two Georges, wherein we hear of the insecure and at times unpleasant character of George Feick, Jr., to whom by Purcell's estimation we owe the existence of P&E.

  • 4/6/2006 - 4/18/2006

    Breezing the horse     (making a silent tip of the hat to Elizabeth Babson), being note of books, exhibitions, and auction sales still doing win, place, and show at the track; La Pome, taking note of the potential for decay in the relationship between truth and beauty when ornament goes to seed; and Confessio, with a look at how we know what we know because someone left mention, in particular a glance by Elmslie toward quantum mechanics as being a physical basis for the spiritual.
     
  • 3/19/2006

Hasta Revista, Baby, wherein I review the past six months of false starts, adverse personal circumstances, and the tangible costs of maintaining Organica in the light of a newfound sense of encouragement all because the site went down from equipment failure, and ending with a re-vue of my mission statement concerning the P&E book. 

Chromographs, being the fruit of a lifetime in photography and a final gesture of art from William Gray Purcell.

Dust to dust, being reflections on the life of John Jager and a theory about his disappointment at the end; and Living Color, a look at how we benefit from Purcell's lifelong interest in all forms of photography, and our special blessing for this in the 1910s color photographs of P&E buildings.

Intermediate Period, which provides peeks at three of the four Frank Lloyd Wright textile block houses in Los Angeles and mentions a superb Arts & Crafts show at LACMA; plus Caravanserai, taking a look at "Westwinds" as I muse over the experience of inner change.

Roadside Stop and A Little Night Music, being hardly worth a glance, though I do mention the start of bringing the writings of W. C. Gray to the realm of the cyberliving.

Gray Days and Gold, being an account of the intergenerational transmission to Purcell from his grandfather, William Cunningham Gray; and In Memoriam, noting the loss of a dear companion and a herd of other sad events that kept me otherwise occupied away from this keyboard.

Bits'n'P&iEces, being comments about the salvation by good souls and the damnation by devils of P&E architectural fragments; and Pas de deux, which looks at the two airplane windows that essentially bookend the canon, wherein the latter one there is reflected some discontent in the Purcell family.

The relational index of holidays and dedication, being the value of doing what you want to do.

After the Beginning, Before the Start, a list of designs and projects by Purcell while in college and during his apprenticeship period; and Dj-dipity I & II, being short lists of new images added. 

Modern Prospects, being a look at later houses done by Purcell and Van Bailey in southern California; Betwixt and Between, a glimpse into the worst period in Purcell's life; Portland Cement, or how Purcell kept busy during the era in Oregon, and A Scanning We Will Go, noting a prophecy or a work plan, or perhaps both. 

Picture Postcards, featuring images contributed by John Panning; Tempus Fugit, an account of how I was gone a long time and some friendly people encouraged me to return; and Coming, Going, Gone, being brief comments about what happens over time to long term interests.

Craning to catch a glimpse, wherein I review briefly the new biography of Charles R. Crane; Tidiness, or looking more deeply at high resolution images for details that otherwise elude the eye in the original format; Working It, which is a glance at the biography of Gerald Stanley Lee and the pitfalls into which he fell as predicted by those who knew him and his work; and First Step, which still needs more than a toe forward.

Signs, or I find my very own Knopf edition of Tertium Organum; Veni, vici, exeunt, meaning how Charles R.  Crane remains newsworthy; and Lost pages happen, which leads me to remark that Elmslie still needs to be recognized as more than "a nervous drafter" when it comes to work out of the Sullivan atelier.

Double Whammy, Redux, being scans of the second half of two volleys from Purcell of the Message on building materials; and All In The Family, calling attention to a few documents relating to the family members of the Progressive principals who were also players on the field of community.

Leaving to Return, I work as production designer on a feature film and thus I am absent from here for a month+; Let There Be Light, concerning disembodied leaded glass panels hither and yon; and So Let It Be Written, purveying notes about the evolution of graphical layout in the publication of work by P&E.

Some background on the catalog for the Walker Art Center exhibition of 1953.

Elmslie Strikes Back, being an account of how an accidental irritation over proper authorship passes from Fournier to Elmslie to Purcell in a process taking nearly thirty years, and Fred Strauel is left holding the bag.

Hooray for Hollywood [I start as production designer of a feature film, so updates will be fewer until September], and reconstruction of the automation background for the Progressives and Organica in general leads to a step back in time, or so it seems.

A major birthday, musings on the National Farmers' Bank, a dream about getting it right, and a useful bibliography of Progressives as they appeared in The Architectural Record.

The Woodbury County Court House, mostly, and the latter day discovery of meditation at a Buddhist retreat.

Helping hands at the restoration of the Stewart Memorial Church, what happened to something made for the Walker Art Center exhibition, old battles for the Cause, how the dictionary stand at Lake Place took years to make.

Those whose have gone before, such as John Jager and his ministrations in the Cave, the raison d'etrere of this site becomes clear to me at long last, and where is all the furniture hanging out these days?

Pets as program elements, P&E building addresses, Mercury retrograde for emptying old boxes, and the life of this endeavor extended by anonymous kindly souls.

Adding to the Lake Place record, and the appearance of virtual catalogs for ornamental elements.

Progress through the Parabiographies, mostly, with some of my favorite early Elmslie enrichments, and a hint about who absconded with the dining room leaded glass doors from the Wiethoff residence.

The opening of the Prairie School Exchange, bits about various Minnesota houses and banks, and another spooky incident that had me looking to rent George Elmslie's old apartment in Minneapolis--without my knowing.

The Lake Minnetonka jobs--with notes on locating bits of the Decker house and Purcell calling the demolition "psychotic;" God letting us all down over a Minneapolis rectory; and a moment of personal nostalgia with a tribute to persistence.

  • 11/21/2002 - 12/17/2002

    Much new imagery for commissions in Rhinelander and Eau Claire, Wisconsin, with some occasional notes about streams of thought within the canon.

  • 11/11/2002 - 11/19/2002

    The first spooky event that happened to me with P&E when I was just being birthed in 4-D consciousness; and the first Top Ten list of who's looking at what most often.

  • 10/21/2002 - 11/8/2002
            Churches in Eau Claire, faded exterior color schemes all around, and some scandalous GGE-->FLLW letters.
  • 9/26/2002 - 10/13/2002
            How much there is left to do, houses appearing for the first time, and the Elmslie/Fournier breakup.
  • 9/8/2002 - 9/20/2002
           Much about the Babson estate, the Edison Shops, and interesting news of P&E client Francis Buzzell.
  • 8/16/2002-9/1/2002
            Musings on good people who befriended me, and some Elmslie terracotta comes to market.
  • 7/30/2002 - 8/15/2002
            Mostly thoughts about how hard it can be to keep a regular schedule in the face of survival mode.
  • 7/18/2002 - 7/28/2002
            See the progress, with banks and churches; Purloined Banks came in on 7/23/2002.
     
  • 7/13/2002 - 7/16/2002

    Just keystroke notes; alas too hard pressed for time to ruminate, save the interesting "virtual" remount of the Second Cornell Exhibition plates, seen together here for the first time in fifty or so years.

  • 7/12/2002

    Musing upon the Destiny of Remodelings, which are by implication Alterations, concerning the sad Devolution of the Francis Buzzell cabin, and the lesser damning Fates of the Amy Hamilton Hunter and Charles A.  Purcell (#1) residences--and now the Grindstone is illustrated.

  • 7/9/2002 - 7/10/2002

    Organics Anonymous, or Adventures in Lake Place and Taliesin, including the ups and down of the Path, where in I muse upon the Idea of Conversion of Souls, an Unfortunate Experience, and a Happy Surprise, concluding with a Prophecy about skyscrapers. 

  • 7/8/2002

    The first burst of mastication beyond just a list of what I put up.

  • 3/8/2002 - 7/7/2002

            Inventories of keystrokes without commentary. 

  

 

 
research courtesy mark hammons