WEBVTT

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cc

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>> One would think, given the

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popularity of the self-declared

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greatest architect

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of the 20th century, the study

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of Frank Lloyd Wright,

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the man and his prolific output,

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would be on the decline.

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And yet, what I call Wright

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studies is a flourishing field.

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A recent conference I attended

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in Mason City, Iowa, attracted

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several hundred homeowners,

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Wright enthusiasts, and scholars

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of Wright's architecture to

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visit several Wright buildings

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and numerous others by his

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followers in this quite rural

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part of north central Iowa.

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Today's panel shows the

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continued vitality of Wright's

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studies and offers us new

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avenues of investigation into

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the master's life and output.

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Ron McCrea's new book,

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"Building Taliesin:

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Frank Lloyd Wright's Home

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of Love and Loss," contains

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previously unpublished photos of

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Taliesin's construction and new

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information about Wright's

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creative partnership with his

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lover Mamah Borthwick.

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Sarah Leavitt's book, "Taliesin

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Diary: A Year With Frank Lloyd

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Wright," meanwhile, brings us

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the diary of Priscilla Henken,

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member of Frank Lloyd Wright's

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architectural colony known as

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the Fellowship and provides

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invaluable insights into

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architectural practice in the

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20th century and the cultural

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history of the period in

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general.

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We're also very pleased for

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today's panel to have three

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members of the Henken family

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here to comment on Leavitt's

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work and experiences with Wright

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and the Fellowship.

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Through this panel, then, we'll

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have new insights into Wright

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and his work, reminding us that

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there's ever more to know about

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out architectural native son.

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For the introductions today,

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I will ask a distinguished guest

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to kick us off by introducing

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Ron McCrea, and then I will

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introduce the other panelists

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in this session.

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So, if I may ask Tony Earl to

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please join us at the podium

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to introduce Ron McCrea.

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[APPLAUSE]

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>> Thank you very much.

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First of all, I want to say

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to Ron what an honor and a

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privilege it is to be asked to

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participate in this event.

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I've known Ron for a number of

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years, and I've known him to be

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committed almost to the point

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of being obsessive

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about Frank Lloyd Wright.

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And, for my own part, like

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anybody's who's lived in

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Wisconsin for more than

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10-15 years, I have

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a Frank Lloyd Wright story,

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and it fits, I hope.

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My late friend, and it involves

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two other Wisconsin icons,

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Marshall Erdman

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and Gaylord Nelson.

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And Gaylord used to love to tell

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a story that when he was a

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struggling young lawyer and

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Marshall was a struggling young

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builder, they were best of pals.

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Marshall called him one day and

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said, Gaylord, I got the break

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of my life.

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What is that, Marshall?

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He said, I'm going to build a

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Unitarian church for Frank Lloyd

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Wright; it will make my name.

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Of course, he was going to get

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commission because nobody else

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would work for Mr. Wright at

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that time.

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[LAUGHTER]

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And he said, I want you to come

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out to Taliesin with me and

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help me draw the contract.

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Gaylord said, boy, I'd be

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delighted; I'd love to meet the

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man.

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So, on a given day, Marshall and

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Gaylord drove out to Taliesin,

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marched up to the door, knocked

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on the door, Mr. Wright appeared

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imperiously in his cape, and he

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said who's this with you,

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Erdman?

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And Marshall said, well, this is

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my friend, a lawyer, Gaylord

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Nelson; he's going to help us

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write the contract, Mr. Wright.

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And Frank Lloyd Wright said,

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dismiss the scrivener.

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[LAUGHTER]

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Now, if Mr. Wright had had

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a chance to read Ron McCrea's

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book, he would never say dismiss

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the scrivener about this book.

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It's a lovely book.

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It is a terrific book.

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I am a Luddite.

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I don't like electronic books.

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This book wouldn't work

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electronically.

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It's got to be on your lap.

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Beautiful photos,

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beautiful dedication to Elaine.

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It is a book that is clearly

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lovingly written,

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beautifully written, and

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although I fancy myself to know

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a bit about Frank Lloyd Wright,

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I learned a hell of a lot more.

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And this book is a delight

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for anyone who loves books.

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The tactile sensation.

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The visual sensation.

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The intellectual stimulation.

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This is a book for book lovers,

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and the guy who is responsible

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for it is my good friend

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Ron McCrea.

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[APPLAUSE]

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>> It's nice to have you

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having my back for a change.

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[LAUGHTER]

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I'm so pleased to be here

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and privileged to be introduced

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by one of my great Wisconsin

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heroes as well as friends,

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Tony Earl.

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And I want to say for a moment

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here that it was 30 years ago

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this Election Day that Wisconsin

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elected Anthony Scully Earl

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our governor.

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[APPLAUSE]

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He was faced with a situation,

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there was a fiscal cliff in

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front of him, too, at the time,

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but he took quite a different

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approach from our current

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governor.

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He did very much what the

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president is proposing to do now

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nationally, and it really worked

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for Wisconsin.

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Four years after he took office,

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Wisconsin was in the black

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and out of deficit.

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He did it by raising,

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temporarily putting a surcharge

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on the income tax

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based on the ability to pay.

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He increased the sales tax by a

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penny for tax and consumption.

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He also froze state employee pay

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for one year, including,

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notably, the faculty and staff

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of the University System which

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was highly unpleased with this,

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but it was fair, it was shared

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pain, and it did not destroy the

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traditions or institutions of

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Wisconsin, and it left it

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stronger at the end.

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He also did some very creative

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appointments.

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He appointed a lot of women

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to the bench,

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and he appointed minorities.

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He appointed a very diverse

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number of people.

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And I think that one of the most

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interesting appointments,

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other than my own...

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[LAUGHTER]

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That he made was the hire

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of a young intern in constituent

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relations.

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And her name was Tammy Baldwin.

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[APPLAUSE]

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And so, this man gave that woman

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her start in public service

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30 years ago.

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And we honor him for that.

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We honor her, and I want to say

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as we go back to Taliesin I

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a hundred years ago, that there

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was another election in

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Wisconsin a hundred years ago

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when the presidential ballot

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included Woodrow Wilson,

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William Howard Taft,

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Theodore Roosevelt,

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and Eugene V. Debs.

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Quite a ticket.

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[LAUGHTER]

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But only men could vote, and

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there was a statewide referendum

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on the ballot of 1912 asking

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the voters of Wisconsin whether

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women should have the vote.

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And it was defeated 2-1.

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And so I think it's very

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symmetrical that a hundred years

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after Wisconsin defeated women's

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right to vote we have elected

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our first woman to the Senate

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of the United States.

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[APPLAUSE]

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We are a two-book session today,

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and I'm going to try to keep

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mine much more brief than

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I would like because there's

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a lot to talk about.

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We are kind of looking at a tale

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of two Taliesins here,

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and they're very different.

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Mine is sort of the creation

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story.

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I'm calling my book,

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I refer to it as Taliesin's

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Book of Genesis, because it is

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the creation story,

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and to some degree it's a book

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of Revelation as well.

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[LAUGHTER]

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And I often like to say,

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luckily for Taliesin,

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there was no book of Leviticus.

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[LAUGHTER]

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In any event,

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this is the Book of Genesis.

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It's a creation story.

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And Taliesin I, which was

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conceived in Italy in 1910 and

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destroyed in the summer of 1914,

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a very small window of time, it

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lived for a very short career,

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but it was a very brilliant

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career and there's very little

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that's been known about it until

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recent times when new

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photographs have surface and new

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letters have surfaced that

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allowed me to mine the letters

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for references and learn a great

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deal more about the daily life

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of Taliesin I for the first

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time.

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And the Taliesin we're looking

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at, let me just see if I can

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start this.

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Oh, that's me in 1987 when I was

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starting my Taliesin studies.

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That's the bird walk off of

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Taliesin.

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That was just after Tony and I

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both left office and left it to

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Tommy Thompson and let us have

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just a moment of schadenfreude.

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[LAUGHTER]

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All right, and this is

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a wonderful photo of Taliesin

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as it is today.

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This is Taliesin III.

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One of the things I like to

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point out about this photograph

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is that there's no development

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around it.

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And if you could imagine

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Taliesin with development of

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strip malls and big mansions on

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those hills, it would lose a

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great deal of its, what Wright

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would call, spell power.

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But you can also see that

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Taliesin is not just buildings.

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It is a full composition.

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It's a composition that includes

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land and buildings, and, in

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fact, nature may be even more

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important than the buildings.

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And here's another one taken

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from the rear, over the rear

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looking toward the Wisconsin

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River that shows Taliesin.

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Unfortunately, the crown of the

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hill now is bare of those

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wonderful oak trees that meant

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so much.

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The Taliesin, I'll try not to do

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this, the Taliesin that we're

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discussing today is one

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that was about half the size

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of Taliesin III, the Taliesin

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that the Henkens experienced.

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It was smaller.

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It was more intimate.

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The hillside, which in

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Taliesin III was the School of

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Architecture, it had a movie

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theater, it had dormitories,

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and this time it was still a

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hillside home school and it was

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a boarding school run by

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Wright's aunts.

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And this is the time of horses

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and buggies and hand tools, and

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Taliesin was built very rapidly

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between the spring of 1911 and

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the spring of 1912.

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But, basically, the basic

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construction work was all done

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in the spring and summer using

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teams of horses and quarrying

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rock and using natural

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materials, and it must have been

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quite something to see.

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And it took its inspiration from

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a villa in Italy.

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This is our, let me introduce

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our couple.

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This is Frank Lloyd Wright, age

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about 38-39.

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That's the other thing, Wright

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is a much younger man in my

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book.

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He's a much more sensitive and

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gentle man, I think, in this

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time.

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This is the woman

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for whom Taliesin was built.

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And this is the first time

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this photograph has been seen.

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I was able to find it recently

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in Sweden at the home

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of Ellen Key.

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It turned out that Wright

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mentions sending a photograph, a

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portrait of Mamah, to Ellen Key

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in December of 1914 that was

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taken as a birthday present to

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him in that summer of 1914.

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And there were mentions of this

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photograph in letters, but it

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was not in the archive.

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So I simply asked the people,

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do you have any pictures

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of Mamah Borthwick?

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Are there any in photo albums?

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And they said, oh, yeah, here

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they are.

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[LAUGHTER]

12:40.000 --> 12:43.000
It's like, who knew?

12:43.000 --> 12:45.000
And that's one of the important

12:45.000 --> 12:47.000
things about Wright studies that

12:47.000 --> 12:48.000
I've found in the modern age

12:48.000 --> 12:50.000
with the Internet is asking

12:50.000 --> 12:52.000
the right questions,

12:52.000 --> 12:53.000
and asking questions

12:53.000 --> 12:56.000
makes all the difference.

12:56.000 --> 12:59.000
This is their view in Italy in

12:59.000 --> 13:03.000
the summer of 1910.

13:03.000 --> 13:05.000
This is my photograph of it.

13:05.000 --> 13:08.000
But they were in Europe from the

13:08.000 --> 13:10.000
fall of 1909 until the fall of

13:10.000 --> 13:13.000
1910.

13:13.000 --> 13:15.000
And Wright wrote to a friend of

13:15.000 --> 13:17.000
his, Charles Ashbee, in England,

13:17.000 --> 13:18.000
"I have been very busy here in

13:18.000 --> 13:20.000
this little eyrie on the brow of

13:20.000 --> 13:21.000
the mountain above Fiesole,

13:21.000 --> 13:23.000
overlooking the pink and white

13:23.000 --> 13:25.000
Florence, spreading in the

13:25.000 --> 13:26.000
valley of the Arno below, the

13:26.000 --> 13:28.000
whole fertile bosom of the Earth

13:28.000 --> 13:29.000
seemingly lying in the drifting

13:29.000 --> 13:31.000
mists or shining clear and

13:31.000 --> 13:32.000
marvelous is this Italian

13:32.000 --> 13:34.000
sunshine, opalescent,

13:34.000 --> 13:37.000
iridescent."

13:37.000 --> 13:39.000
This is the place that they

13:39.000 --> 13:41.000
stayed called the Villino

13:41.000 --> 13:42.000
Belvedere, and it has a walled

13:42.000 --> 13:45.000
garden here.

13:45.000 --> 13:47.000
And the house actually goes down

13:47.000 --> 13:50.000
two stories.

13:50.000 --> 13:53.000
So, then on the right you can

13:53.000 --> 13:55.000
see this is the view overlooking

13:55.000 --> 13:58.000
Florence.

13:58.000 --> 14:00.000
This is another Italian seat

14:00.000 --> 14:03.000
near there.

14:03.000 --> 14:05.000
There was a Roman-Etruscan

14:05.000 --> 14:08.000
architectural park up on this

14:08.000 --> 14:11.000
hillside.

14:11.000 --> 14:14.000
This is Taylor Woolley, who was

14:14.000 --> 14:17.000
a young architectural draftsman

14:17.000 --> 14:20.000
from Salt Lake City who joined

14:20.000 --> 14:22.000
the Oak Park studio in 1908 and

14:22.000 --> 14:23.000
Wright trusted enough to bring

14:23.000 --> 14:25.000
him to Europe with him in 1909

14:25.000 --> 14:28.000
and '10 to work on the plates

14:28.000 --> 14:30.000
for what was called a Wasmuth

14:30.000 --> 14:32.000
portfolio, which was a hundred

14:32.000 --> 14:34.000
plates of his best work that was

14:34.000 --> 14:36.000
going to be published and sold

14:36.000 --> 14:37.000
in Europe and then the United

14:37.000 --> 14:39.000
States.

14:39.000 --> 14:41.000
And so he's wearing this smock

14:41.000 --> 14:42.000
to protect his clothing from the

14:42.000 --> 14:44.000
India ink that they were using

14:44.000 --> 14:47.000
to do the drawings on probably

14:47.000 --> 14:49.000
velum or linen paper.

14:49.000 --> 14:51.000
This is his picture of the

14:51.000 --> 14:53.000
studio.

14:53.000 --> 14:55.000
I personally think that in these

14:55.000 --> 14:56.000
you can see on the wall some of

14:56.000 --> 14:58.000
the floor plans of Wright

14:58.000 --> 14:59.000
houses.

14:59.000 --> 15:01.000
I've actually been able to

15:01.000 --> 15:02.000
identify them in the book, which

15:02.000 --> 15:04.000
ones they're working on.

15:04.000 --> 15:05.000
And I think, personally, that

15:05.000 --> 15:07.000
Taylor moved that plant into the

15:07.000 --> 15:08.000
middle just for aesthetic

15:08.000 --> 15:10.000
purposes.

15:10.000 --> 15:13.000
This is a picture of a place

15:13.000 --> 15:14.000
that Wright writes about in

15:14.000 --> 15:15.000
Italy.

15:15.000 --> 15:18.000
This is the little table set for

15:18.000 --> 15:20.000
two under a rose bower.

15:20.000 --> 15:21.000
It was a very idyllic time, and

15:21.000 --> 15:23.000
it was, I think, an unusual

15:23.000 --> 15:25.000
experience of living indoors and

15:25.000 --> 15:26.000
outdoors for him, and I think it

15:26.000 --> 15:28.000
was one that gave him a feeling

15:28.000 --> 15:30.000
for the sweet Italian lifestyle

15:30.000 --> 15:32.000
and one that he wanted to keep

15:32.000 --> 15:34.000
going with her back in the

15:34.000 --> 15:36.000
United States, and they had to

15:36.000 --> 15:39.000
figure out a way to return.

15:39.000 --> 15:41.000
Catherine was not allowing him

15:41.000 --> 15:43.000
to get a divorce.

15:43.000 --> 15:45.000
She considered and called Mamah

15:45.000 --> 15:46.000
a vampire.

15:46.000 --> 15:48.000
And so she felt that by refusing

15:48.000 --> 15:49.000
to allow him to free him from

15:49.000 --> 15:51.000
the marriage, she was saving his

15:51.000 --> 15:53.000
soul.

15:53.000 --> 15:55.000
And Mamah, on the other hand,

15:55.000 --> 15:57.000
had no trouble getting a divorce

15:57.000 --> 15:59.000
from her husband Edwin Cheney

15:59.000 --> 16:00.000
and did that a year after she

16:00.000 --> 16:02.000
returned, right after she

16:02.000 --> 16:04.000
returned.

16:04.000 --> 16:05.000
And so she was divorced when she

16:05.000 --> 16:07.000
moved in with Wright and he was

16:07.000 --> 16:08.000
not.

16:08.000 --> 16:13.000
And let me just tell you,

16:13.000 --> 16:15.000
this is Taylor Woolley and his

16:15.000 --> 16:18.000
friend from Salt Lake City,

16:18.000 --> 16:21.000
Clifford Evans.

16:21.000 --> 16:23.000
There Clifford is 22, Taylor is

16:23.000 --> 16:26.000
about 27 or 26 in this picture.

16:26.000 --> 16:28.000
They're putting stain on the

16:28.000 --> 16:31.000
studio wing of Taliesin I.

16:31.000 --> 16:34.000
And he came at Wright's request

16:34.000 --> 16:40.000
in the late summer/mid-September

16:40.000 --> 16:42.000
of 1911 and stayed through the

16:42.000 --> 16:44.000
next summer when he returned to

16:44.000 --> 16:46.000
Salt Lake City.

16:46.000 --> 16:48.000
And that is where he left his

16:48.000 --> 16:49.000
negatives for his photographs

16:49.000 --> 16:51.000
that I was able to uncover just

16:51.000 --> 16:53.000
about a year ago.

16:53.000 --> 16:54.000
Here is what Mamah Borthwick

16:54.000 --> 16:56.000
said upon coming to her new

16:56.000 --> 16:59.000
home.

16:59.000 --> 17:01.000
This is the kind of rough

17:01.000 --> 17:02.000
outside entrance to what people

17:02.000 --> 17:04.000
never called Taliesin at the

17:04.000 --> 17:05.000
time.

17:05.000 --> 17:08.000
They called it the bungalow.

17:08.000 --> 17:09.000
And look at this.

17:09.000 --> 17:11.000
This is probably about the kind

17:11.000 --> 17:12.000
of situation that Mamah found

17:12.000 --> 17:14.000
when she arrived.

17:14.000 --> 17:15.000
It's still quite dug up.

17:15.000 --> 17:17.000
There's channeling going on to

17:17.000 --> 17:19.000
put heating pipes under the

17:19.000 --> 17:21.000
place, and it's not really

17:21.000 --> 17:22.000
habitable yet.

17:22.000 --> 17:24.000
The windows are still open to

17:24.000 --> 17:25.000
the elements.

17:25.000 --> 17:27.000
And she wrote to her mentor in

17:27.000 --> 17:29.000
Sweden, Ellen Key, who was the

17:29.000 --> 17:31.000
author of many books on many

17:31.000 --> 17:34.000
subjects, including fine design

17:34.000 --> 17:36.000
and the design of useful objects

17:36.000 --> 17:38.000
for the home in the arts and

17:38.000 --> 17:41.000
crafts movement tradition.

17:41.000 --> 17:43.000
But she also wrote on marriage

17:43.000 --> 17:45.000
reform and divorce reform, and

17:45.000 --> 17:46.000
in the four years that Frank and

17:46.000 --> 17:48.000
Mamah were together, she

17:48.000 --> 17:49.000
translated and published four of

17:49.000 --> 17:51.000
her books in English.

17:51.000 --> 17:53.000
One by Putnam in New York and

17:53.000 --> 17:55.000
three in Chicago.

17:55.000 --> 17:56.000
Wright, at the same time, wrote

17:56.000 --> 17:58.000
the book, "The Japanese Print:

17:58.000 --> 18:00.000
An Interpretation," and opened a

18:00.000 --> 18:02.000
whole second career for himself

18:02.000 --> 18:04.000
as a dealer in Japanese art.

18:04.000 --> 18:07.000
It was a very creative,

18:07.000 --> 18:09.000
productive time that they had in

18:09.000 --> 18:10.000
the four summers they had at

18:10.000 --> 18:12.000
Taliesin.

18:12.000 --> 18:15.000
So, her first report from

18:15.000 --> 18:17.000
Taliesin, she says, and I think

18:17.000 --> 18:19.000
she probably had been questioned

18:19.000 --> 18:23.000
by Ellen Key about taking up

18:23.000 --> 18:24.000
with a married man, and she

18:24.000 --> 18:27.000
says, "I have, as you hoped,

18:27.000 --> 18:28.000
made a choice in harmony with my

18:28.000 --> 18:30.000
own soul, the choice as far as

18:30.000 --> 18:32.000
my own life was concerned was

18:32.000 --> 18:34.000
made long ago, that is absolute

18:34.000 --> 18:35.000
separation from Mr. Cheney.

18:35.000 --> 18:36.000
A divorce was obtained last

18:36.000 --> 18:38.000
summer, and my maiden name is

18:38.000 --> 18:40.000
now legally mine.

18:40.000 --> 18:41.000
Also, I have since made a choice

18:41.000 --> 18:43.000
in harmony with my own soul and

18:43.000 --> 18:45.000
what I believe to be Frank

18:45.000 --> 18:46.000
Wright's happiness and am now

18:46.000 --> 18:48.000
keeping his house for him.

18:48.000 --> 18:50.000
In this very beautiful hillside,

18:50.000 --> 18:51.000
as beautiful in its way as the

18:51.000 --> 18:53.000
country about Strand," which is

18:53.000 --> 18:55.000
the name of Ellen Key's house on

18:55.000 --> 18:57.000
a lake in Sweden, "He's been

18:57.000 --> 18:59.000
building a summer house, and

18:59.000 --> 19:01.000
it's interesting she says a

19:01.000 --> 19:02.000
summer house suggesting there

19:02.000 --> 19:03.000
might have been a winter

19:03.000 --> 19:05.000
residence, perhaps in the city

19:05.000 --> 19:07.000
or townhouse, also planned, and

19:07.000 --> 19:08.000
there was a plan for a townhouse

19:08.000 --> 19:11.000
on the north shore of Chicago.

19:11.000 --> 19:12.000
The combination of site and

19:12.000 --> 19:14.000
dwelling, the most beautiful

19:14.000 --> 19:15.000
I have seen any place in the

19:15.000 --> 19:17.000
world.

19:17.000 --> 19:18.000
We are hoping to have some

19:18.000 --> 19:20.000
photographs to send you soon.

19:20.000 --> 19:22.000
I believe it is a house founded

19:22.000 --> 19:24.000
on Ellen Key's ideal of love.

19:24.000 --> 19:25.000
The nearest neighbor, a half a

19:25.000 --> 19:27.000
mile away, is Frank's sister

19:27.000 --> 19:28.000
where I visited when I first

19:28.000 --> 19:29.000
came here.

19:29.000 --> 19:31.000
She has championed our love most

19:31.000 --> 19:32.000
loyally, believing in her

19:32.000 --> 19:34.000
brother's happiness."

19:34.000 --> 19:36.000
And this is Jane Porter, and

19:36.000 --> 19:37.000
what that means is that she

19:37.000 --> 19:39.000
arrived at Taliesin but couldn't

19:39.000 --> 19:41.000
live there, so she moved in with

19:41.000 --> 19:42.000
Jane and her family which is on

19:42.000 --> 19:44.000
the grounds at a place called

19:44.000 --> 19:46.000
Taney Dairy which Wright

19:46.000 --> 19:48.000
designed in 1906 for his sister.

19:48.000 --> 19:50.000
In fact, all of the commissions

19:50.000 --> 19:51.000
in the valley were designed by

19:51.000 --> 19:54.000
Wright for women, including his

19:54.000 --> 19:55.000
aunts.

19:55.000 --> 19:57.000
I have thus far been very busy

19:57.000 --> 19:59.000
with the unfinished house and

19:59.000 --> 20:01.000
because of the fact that workmen

20:01.000 --> 20:02.000
were boarded here in a nearby

20:02.000 --> 20:04.000
farmhouse, sometimes as many as

20:04.000 --> 20:06.000
36 at a time.

20:06.000 --> 20:08.000
Mr. Wright's sister has looked

20:08.000 --> 20:09.000
after this all summer, but when

20:09.000 --> 20:11.000
I came, it was turned over to

20:11.000 --> 20:13.000
me, and I've done very little of

20:13.000 --> 20:14.000
your translation work in

20:14.000 --> 20:16.000
consequence of the building.

20:16.000 --> 20:17.000
The house is now, however,

20:17.000 --> 20:19.000
practically finished and my time

20:19.000 --> 20:21.000
again free.

20:21.000 --> 20:22.000
Mr. Wright has his studio

20:22.000 --> 20:23.000
incorporated into the house, and

20:23.000 --> 20:25.000
we both will be busy with our

20:25.000 --> 20:26.000
own work with absolutely no

20:26.000 --> 20:28.000
outside interests on my part.

20:28.000 --> 20:30.000
My children I hope to have at

20:30.000 --> 20:31.000
times, but that cannot be just

20:31.000 --> 20:33.000
yet.

20:33.000 --> 20:34.000
And so, this is what she found,

20:34.000 --> 20:36.000
and listen to this.

20:36.000 --> 20:38.000
This is a suburban Illinois

20:38.000 --> 20:42.000
housewife with servants.

20:42.000 --> 20:43.000
There were two servants in the

20:43.000 --> 20:44.000
Cheney household.

20:44.000 --> 20:46.000
And suddenly she has turned into

20:46.000 --> 20:47.000
the construction crew cook

20:47.000 --> 20:49.000
arriving at Taliesin, which I

20:49.000 --> 20:51.000
think is kind of maybe the same

20:51.000 --> 20:52.000
sort of boot camp experience

20:52.000 --> 20:53.000
that the Henkens found when they

20:53.000 --> 20:55.000
arrived.

20:55.000 --> 20:58.000
Here's another, I call these

20:58.000 --> 21:00.000
pictures sweating brow because

21:00.000 --> 21:03.000
they're very...

21:03.000 --> 21:07.000
Here's the work crew, and this

21:07.000 --> 21:10.000
is Clifford again, standing and

21:10.000 --> 21:13.000
looking kind of preppy in the

21:13.000 --> 21:16.000
middle there.

21:16.000 --> 21:18.000
This is a little more cleaned

21:18.000 --> 21:19.000
up, and now the courtyard is

21:19.000 --> 21:21.000
taking shape.

21:21.000 --> 21:22.000
The statue there is called

21:22.000 --> 21:24.000
Flower in the Crannied Wall.

21:24.000 --> 21:26.000
It was a copy of one done for

21:26.000 --> 21:27.000
another woman client from

21:27.000 --> 21:29.000
Springfield, Illinois,

21:29.000 --> 21:30.000
Susan Dana.

21:30.000 --> 21:33.000
But if you notice here, it's

21:33.000 --> 21:35.000
still just a dirt path up the

21:35.000 --> 21:37.000
hill to what would become the

21:37.000 --> 21:39.000
tea circle.

21:39.000 --> 21:41.000
And later this would have stones

21:41.000 --> 21:43.000
and a stone circle and be much

21:43.000 --> 21:46.000
more developed.

21:46.000 --> 21:48.000
Now, this was a huge surprise

21:48.000 --> 21:49.000
when I saw this.

21:49.000 --> 21:51.000
This is a puppet theater.

21:51.000 --> 21:53.000
It's a puppet theater sitting in

21:53.000 --> 21:54.000
the unfinished living room of

21:54.000 --> 21:56.000
Taliesin that Wright has

21:56.000 --> 21:57.000
designed for his youngest son,

21:57.000 --> 21:59.000
Llewellyn, who was going to turn

21:59.000 --> 22:01.000
eight on November 15, 1911.

22:01.000 --> 22:04.000
So this is a very early picture.

22:04.000 --> 22:05.000
I knew what it was because there

22:05.000 --> 22:07.000
had been one other article with

22:07.000 --> 22:09.000
a picture from 1914 of this

22:09.000 --> 22:12.000
object, but we, until we saw

22:12.000 --> 22:13.000
this picture, we didn't know

22:13.000 --> 22:15.000
when and where it had been built

22:15.000 --> 22:18.000
And if you look at the scenery,

22:18.000 --> 22:21.000
it is an Italian scene.

22:21.000 --> 22:22.000
You can see the Cyprus trees in

22:22.000 --> 22:24.000
it.

22:24.000 --> 22:25.000
In fact, in one of the sketches

22:25.000 --> 22:27.000
it looks like there's a tower

22:27.000 --> 22:29.000
and a balcony, and it looks like

22:29.000 --> 22:31.000
he's created Romeo and Juliet.

22:31.000 --> 22:33.000
And this is little Llewellyn,

22:33.000 --> 22:35.000
a picture that his daughter sent

22:35.000 --> 22:37.000
me from France where she's a

22:37.000 --> 22:40.000
retired professor.

22:40.000 --> 22:43.000
This is a triptych of the living

22:43.000 --> 22:45.000
room from three photographs.

22:45.000 --> 22:47.000
This is a little more refined

22:47.000 --> 22:49.000
now.

22:49.000 --> 22:53.000
This is Mr. Wright's studio but

22:53.000 --> 22:55.000
at this point is still full of

22:55.000 --> 22:57.000
lumber and is being used as a

22:57.000 --> 22:59.000
carpenter shop.

22:59.000 --> 23:03.000
This is the draftsman drafting

23:03.000 --> 23:05.000
studio, and there was a bunk

23:05.000 --> 23:07.000
room off of that and a sitting

23:07.000 --> 23:09.000
room and draftsmen came and

23:09.000 --> 23:12.000
went.

23:12.000 --> 23:14.000
There were certain people, like

23:14.000 --> 23:16.000
Herbert Fritz, Sr, who were

23:16.000 --> 23:17.000
there all the time, but it was

23:17.000 --> 23:19.000
kind of an itinerant group of

23:19.000 --> 23:20.000
architects who would go between

23:20.000 --> 23:22.000
Chicago and Spring Green and

23:22.000 --> 23:24.000
spend time.

23:24.000 --> 23:26.000
And there were artists and other

23:26.000 --> 23:28.000
guest who came, but it was

23:28.000 --> 23:29.000
nothing like Taliesin III where

23:29.000 --> 23:31.000
you had resident school and

23:31.000 --> 23:35.000
apprentices.

23:35.000 --> 23:37.000
And this is, I love this

23:37.000 --> 23:39.000
photograph, this is one of the

23:39.000 --> 23:41.000
photographs, and these are stone

23:41.000 --> 23:43.000
masons who have just cemented in

23:43.000 --> 23:45.000
place the plaque on the pier at

23:45.000 --> 23:47.000
the entrance to Taliesin at the

23:47.000 --> 23:49.000
lower one next to the sort of

23:49.000 --> 23:51.000
waterfall or spillway that says

23:51.000 --> 23:53.000
"Frank Lloyd Wright, Architect,"

23:53.000 --> 23:55.000
and that means Taliesin is

23:55.000 --> 23:57.000
officially open for business and

23:57.000 --> 23:59.000
they have just finished doing

23:59.000 --> 24:00.000
this.

24:00.000 --> 24:01.000
Well, the interesting thing,

24:01.000 --> 24:03.000
this is one of those other

24:03.000 --> 24:04.000
little how do you discover lost

24:04.000 --> 24:05.000
history.

24:05.000 --> 24:07.000
I met a woman who's 86 years old

24:07.000 --> 24:09.000
from Baraboo, and her name is

24:09.000 --> 24:11.000
Barbara Dresser.

24:11.000 --> 24:14.000
And she was the granddaughter of

24:14.000 --> 24:17.000
a man named Alfred Larson who

24:17.000 --> 24:19.000
was a stone mason, and I sent

24:19.000 --> 24:21.000
her all the pictures in the book

24:21.000 --> 24:22.000
and said, do you recognize

24:22.000 --> 24:23.000
anybody?

24:23.000 --> 24:24.000
And she said, well,

24:24.000 --> 24:26.000
only my grandfather.

24:26.000 --> 24:27.000
[LAUGHTER]

24:27.000 --> 24:29.000
So, this man here is

24:29.000 --> 24:31.000
Alfred Larson who was the

24:31.000 --> 24:35.000
grandfather of Barbara, and

24:35.000 --> 24:39.000
Barbara, her father was Herbert

24:39.000 --> 24:41.000
Fritz, Sr, and his mother was

24:41.000 --> 24:46.000
Alfred Larson's wife, Elvira.

24:46.000 --> 24:48.000
So, there were a lot of Taliesin

24:48.000 --> 24:51.000
aristocracy here and over the

24:51.000 --> 24:53.000
generations.

24:53.000 --> 24:55.000
I just love this picture that

24:55.000 --> 24:57.000
suggests this is the way it's

24:57.000 --> 24:59.000
done.

24:59.000 --> 25:02.000
And you can see it has a kind of

25:02.000 --> 25:04.000
tassel-like look from down the

25:04.000 --> 25:07.000
hill.

25:07.000 --> 25:11.000
And this is an open porch

25:11.000 --> 25:14.000
which is where Mamah

25:14.000 --> 25:15.000
and her children were killed

25:15.000 --> 25:17.000
in August 1914.

25:17.000 --> 25:18.000
It was never rebuilt.

25:18.000 --> 25:19.000
And Taliesin was sort of

25:19.000 --> 25:21.000
reoriented so that no one would

25:21.000 --> 25:22.000
ever actually live in that space

25:22.000 --> 25:25.000
again.

25:25.000 --> 25:26.000
For gardeners here, this is a

25:26.000 --> 25:28.000
really interesting photo because

25:28.000 --> 25:30.000
what you have here is gardeners

25:30.000 --> 25:33.000
with stakes and chalk laying out

25:33.000 --> 25:35.000
a grid on the slope below

25:35.000 --> 25:37.000
Taliesin for grid planting which

25:37.000 --> 25:39.000
is a very Italian way of

25:39.000 --> 25:41.000
planting on a slope.

25:41.000 --> 25:43.000
And I consulted Jerry Minnich,

25:43.000 --> 25:44.000
who wrote the Wisconsin Garden

25:44.000 --> 25:46.000
Guide, about this.

25:46.000 --> 25:48.000
And Wright used both contour and

25:48.000 --> 25:49.000
grid planting.

25:49.000 --> 25:51.000
And, in the next picture, you'll

25:51.000 --> 25:52.000
see some of the results.

25:52.000 --> 25:54.000
This is probably the spring of

25:54.000 --> 25:56.000
1912.

25:56.000 --> 26:00.000
And here is the fall of 1912.

26:00.000 --> 26:01.000
These photographs were taken by

26:01.000 --> 26:04.000
a man named Fuermann,

26:04.000 --> 26:06.000
Clarence Fuermann, from Chicago.

26:06.000 --> 26:07.000
Jack Holzheuter found these

26:07.000 --> 26:10.000
photographs on eBay.

26:10.000 --> 26:11.000
They had not been published

26:11.000 --> 26:12.000
before, but I was able to,

26:12.000 --> 26:13.000
he got them for the State

26:13.000 --> 26:15.000
Historical Society which then

26:15.000 --> 26:17.000
made them available to me

26:17.000 --> 26:20.000
in time for the book.

26:20.000 --> 26:22.000
And you can see the same view.

26:22.000 --> 26:25.000
Now the courtyard, the inner

26:25.000 --> 26:27.000
courtyard is really much more

26:27.000 --> 26:29.000
pulled together and beautiful,

26:29.000 --> 26:30.000
and the tea circle is in place.

26:30.000 --> 26:32.000
And if you look closely through

26:32.000 --> 26:34.000
the opening at the far end of

26:34.000 --> 26:36.000
the building, you can see a

26:36.000 --> 26:39.000
Holstein calf and cow.

26:39.000 --> 26:42.000
And by the way, when I came to

26:42.000 --> 26:44.000
work for Tony Earl, I did not

26:44.000 --> 26:46.000
know the difference between and

26:46.000 --> 26:47.000
udder and a teat.

26:47.000 --> 26:49.000
[LAUGHTER]

26:49.000 --> 26:50.000
And I've always thought it was

26:50.000 --> 26:51.000
wonderful that I had to learn

26:51.000 --> 26:53.000
that fact from the governor

26:53.000 --> 26:54.000
of Dairyland.

26:54.000 --> 26:58.000
[LAUGHTER]

26:58.000 --> 26:59.000
Now, this is another picture

26:59.000 --> 27:01.000
in the Fuermann series

27:01.000 --> 27:04.000
that was not published before.

27:04.000 --> 27:06.000
And what's interesting about it,

27:06.000 --> 27:08.000
for me, is look at the vantage

27:08.000 --> 27:10.000
point.

27:10.000 --> 27:11.000
It's from the tea circle.

27:11.000 --> 27:13.000
It's looking toward the portico

27:13.000 --> 27:14.000
share.

27:14.000 --> 27:15.000
Under the portico share you see

27:15.000 --> 27:18.000
two children and a horse.

27:18.000 --> 27:20.000
Now, look at the next

27:20.000 --> 27:23.000
photograph.

27:23.000 --> 27:25.000
This is the same vantage point

27:25.000 --> 27:28.000
in 1914, shortly after Taliesin

27:28.000 --> 27:31.000
was burned down.

27:31.000 --> 27:32.000
The residential wing was burned

27:32.000 --> 27:33.000
down.

27:33.000 --> 27:35.000
Julian Carlton made his rampage,

27:35.000 --> 27:38.000
attacked, murdered seven people

27:38.000 --> 27:40.000
and swallowed acid, died himself

27:40.000 --> 27:44.000
cell 48 days later.

27:44.000 --> 27:47.000
And you can see that the portico

27:47.000 --> 27:49.000
share has now crashed to the

27:49.000 --> 27:51.000
ground.

27:51.000 --> 27:54.000
The studio wing remains.

27:54.000 --> 27:56.000
I don't think Wright is in this

27:56.000 --> 27:58.000
picture.

27:58.000 --> 27:59.000
There's a man sitting in the

27:59.000 --> 28:01.000
breezeway with a rifle over his

28:01.000 --> 28:02.000
lap.

28:02.000 --> 28:04.000
There's a man with a long beard

28:04.000 --> 28:06.000
who maybe Jenkin Lloyd Jones or

28:06.000 --> 28:08.000
Enis talking with some other

28:08.000 --> 28:10.000
guys.

28:10.000 --> 28:11.000
The studio wing was spared

28:11.000 --> 28:13.000
thanks to the efforts of William

28:13.000 --> 28:15.000
Weston, who, even though

28:15.000 --> 28:17.000
wounded, sprayed a water hose,

28:17.000 --> 28:20.000
garden hose, on it.

28:20.000 --> 28:22.000
And Wright did sometimes say

28:22.000 --> 28:25.000
that maybe that God disapproved

28:25.000 --> 28:27.000
of his life but approved of his

28:27.000 --> 28:28.000
work, but I don't think he

28:28.000 --> 28:31.000
really believed that.

28:31.000 --> 28:33.000
This is another picture of

28:33.000 --> 28:35.000
gawkers coming to look at the

28:35.000 --> 28:38.000
ruins.

28:38.000 --> 28:40.000
This is the story of the death

28:40.000 --> 28:42.000
of Julian Carlton, who, actually

28:42.000 --> 28:44.000
one of the nice things I like to

28:44.000 --> 28:46.000
say in these presentations is

28:46.000 --> 28:48.000
that small-town Wisconsin

28:48.000 --> 28:50.000
behaved wonderfully and nobly

28:50.000 --> 28:51.000
and responsibly in the aftermath

28:51.000 --> 28:53.000
of the crime of the century.

28:53.000 --> 28:55.000
They gave this man due process.

28:55.000 --> 28:57.000
He was given a court-appointed

28:57.000 --> 28:58.000
attorney.

28:58.000 --> 29:00.000
He was given two court

29:00.000 --> 29:02.000
appearances.

29:02.000 --> 29:03.000
He was given a special visit by

29:03.000 --> 29:05.000
the judge to counsel him on a

29:05.000 --> 29:07.000
plea that would allow him to die

29:07.000 --> 29:09.000
in a Dodgeville jail rather than

29:09.000 --> 29:11.000
at Waupun State Prison.

29:11.000 --> 29:13.000
He received good medical

29:13.000 --> 29:14.000
attention from very prominent

29:14.000 --> 29:16.000
doctors, and he basically got

29:16.000 --> 29:18.000
his rights even though he had

29:18.000 --> 29:21.000
committed, quite clearly,

29:21.000 --> 29:22.000
the crime of the century

29:22.000 --> 29:24.000
and horrible murders.

29:24.000 --> 29:26.000
But small-town Wisconsin behaved

29:26.000 --> 29:28.000
wonderfully, and the local press

29:28.000 --> 29:30.000
did not treat this tremendously

29:30.000 --> 29:33.000
luridly.

29:33.000 --> 29:34.000
It was full of racism,

29:34.000 --> 29:36.000
of course.

29:36.000 --> 29:37.000
All the headlines were

29:37.000 --> 29:38.000
"Black Beast" kills

29:38.000 --> 29:41.000
such and such; "Negro Slayer."

29:41.000 --> 29:43.000
Even the death certificates say,

29:43.000 --> 29:44.000
as cause of death, "killed by

29:44.000 --> 29:46.000
a Negro," as though that were

29:46.000 --> 29:49.000
a separate category of murder.

29:49.000 --> 29:52.000
But, basically, when it came,

29:52.000 --> 29:54.000
for the time and place,

29:54.000 --> 29:57.000
small-town Wisconsin behaved

29:57.000 --> 29:59.000
better and they may have behaved

29:59.000 --> 30:01.000
much better than Chicago did.

30:01.000 --> 30:04.000
This is Mamah's gravestone, and

30:04.000 --> 30:06.000
I know I've ruffled a few

30:06.000 --> 30:07.000
feathers by suggesting this is

30:07.000 --> 30:09.000
kind of inappropriate for them

30:09.000 --> 30:11.000
to put Mr. Cheney's name on her

30:11.000 --> 30:13.000
headstone after she had very

30:13.000 --> 30:16.000
firmly rejected it.

30:16.000 --> 30:20.000
And, at the very end, Wright

30:20.000 --> 30:22.000
went to Chicago and had to think

30:22.000 --> 30:24.000
things through.

30:24.000 --> 30:28.000
And he wrote a letter in

30:28.000 --> 30:36.000
December to Ellen Key.

30:36.000 --> 30:39.000
I'm looking for it.

30:39.000 --> 30:43.000
Looking for it.

30:43.000 --> 30:46.000
Basically, he says to her that I

30:46.000 --> 30:47.000
have a decision to make.

30:47.000 --> 30:50.000
I can either give in to despair

30:50.000 --> 30:52.000
or I can, as the heart of her

30:52.000 --> 30:55.000
would have me do, basically put

30:55.000 --> 30:59.000
her spirit into the work that

30:59.000 --> 31:02.000
takes shape under my hands.

31:02.000 --> 31:04.000
That's what he says.

31:04.000 --> 31:06.000
That basically he has decided to

31:06.000 --> 31:08.000
honor her by devoting his work

31:08.000 --> 31:12.000
to her.

31:12.000 --> 31:13.000
This is Ellen Key,

31:13.000 --> 31:15.000
a tough customer.

31:15.000 --> 31:16.000
[LAUGHTER]

31:16.000 --> 31:17.000
This is actually one of those

31:17.000 --> 31:18.000
portraits that Mamah mentions

31:18.000 --> 31:20.000
in a letter saying,

31:20.000 --> 31:23.000
"I saw this portrait by Nielsen,

31:23.000 --> 31:24.000
couldn't you have them erase

31:24.000 --> 31:25.000
those ugly balls on either side

31:25.000 --> 31:27.000
of your head because they look

31:27.000 --> 31:29.000
ugly."

31:29.000 --> 31:30.000
And so I looked around and was

31:30.000 --> 31:31.000
able to find the portrait

31:31.000 --> 31:34.000
she's talking about.

31:34.000 --> 31:36.000
Coming toward the end here,

31:36.000 --> 31:38.000
I think maybe I need to end.

31:38.000 --> 31:40.000
Let me have, do I have five

31:40.000 --> 31:41.000
minutes?

31:41.000 --> 31:43.000
I think I have five.

31:43.000 --> 31:44.000
I want to tell just a couple of

31:44.000 --> 31:46.000
stories about how you discover

31:46.000 --> 31:49.000
lost history.

31:49.000 --> 31:51.000
This Hiroshige print was found

31:51.000 --> 31:53.000
hanging on the wall of Ellen

31:53.000 --> 31:55.000
Key's home, and there's a letter

31:55.000 --> 31:57.000
from Mamah that says Frank is

31:57.000 --> 31:59.000
sending you a little Hiroshige

31:59.000 --> 32:00.000
that we hope you may care to

32:00.000 --> 32:03.000
hang in your new home.

32:03.000 --> 32:05.000
And a Swedish scholar, a woman,

32:05.000 --> 32:07.000
looked at this and happened to

32:07.000 --> 32:10.000
turn it over and found this

32:10.000 --> 32:13.000
inscription that it was a print

32:13.000 --> 32:14.000
by the great Japanese artist

32:14.000 --> 32:16.000
Hiroshige and a gift from the

32:16.000 --> 32:17.000
great American architect

32:17.000 --> 32:18.000
Frank Lloyd Wright.

32:18.000 --> 32:19.000
Well, there had been no

32:19.000 --> 32:20.000
knowledge of a connection

32:20.000 --> 32:21.000
between Wright and Ellen Key

32:21.000 --> 32:23.000
before, so she went to the

32:23.000 --> 32:25.000
Swedish National Library and

32:25.000 --> 32:27.000
found in her archives these 10

32:27.000 --> 32:29.000
letters from Mamah which then

32:29.000 --> 32:32.000
really unlocked everything we

32:32.000 --> 32:34.000
know about Taliesin I.

32:34.000 --> 32:38.000
And this is Ellen Key's partner

32:38.000 --> 32:41.000
desk, and you can see the

32:41.000 --> 32:43.000
Hiroshige hanging down the hall.

32:43.000 --> 32:47.000
What I want to tell you about

32:47.000 --> 32:49.000
this is that I, quite by

32:49.000 --> 32:51.000
accident, found a Stockholm

32:51.000 --> 32:53.000
architect who was willing to

32:53.000 --> 32:54.000
drive half way across Sweden and

32:54.000 --> 32:55.000
make these photographs for me

32:55.000 --> 32:57.000
and photograph the Hiroshige and

32:57.000 --> 32:58.000
find it, send it to me, asking

32:58.000 --> 32:59.000
nothing.

32:59.000 --> 33:00.000
People who are into Frank Lloyd

33:00.000 --> 33:02.000
Wright do all these things for

33:02.000 --> 33:03.000
the love of it.

33:03.000 --> 33:04.000
So I asked some of these people

33:04.000 --> 33:05.000
to send me pictures of

33:05.000 --> 33:07.000
themselves.

33:07.000 --> 33:08.000
This is her balcony.

33:08.000 --> 33:09.000
Not bad.

33:09.000 --> 33:11.000
[LAUGHTER]

33:11.000 --> 33:12.000
And this is Bjorn Sjunnesson,

33:12.000 --> 33:14.000
my unknown friend in Stockholm

33:14.000 --> 33:18.000
who provided this information.

33:18.000 --> 33:20.000
Now, at the very beginning, when

33:20.000 --> 33:22.000
it was first discovered that

33:22.000 --> 33:23.000
they were living together at

33:23.000 --> 33:25.000
Taliesin because he'd told

33:25.000 --> 33:26.000
everyone they had broken up, and

33:26.000 --> 33:28.000
he secretly built Taliesin with

33:28.000 --> 33:30.000
the help of his mother and this

33:30.000 --> 33:32.000
was found out, there was a huge

33:32.000 --> 33:34.000
spasm of coverage in the Chicago

33:34.000 --> 33:35.000
press, and this is typical of

33:35.000 --> 33:37.000
it.

33:37.000 --> 33:38.000
With "castle of love" and there

33:38.000 --> 33:40.000
are going to be sheriff's

33:40.000 --> 33:41.000
posses, there was even talk of

33:41.000 --> 33:43.000
tar and feathers, but in the

33:43.000 --> 33:45.000
middle of all of it, Mamah

33:45.000 --> 33:46.000
mentions in one of her letters

33:46.000 --> 33:48.000
that she's sending a column by a

33:48.000 --> 33:49.000
guy named Floyd Dell.

33:49.000 --> 33:50.000
Now, Floyd Dell was the editor

33:50.000 --> 33:51.000
of the Chicago Evening Post

33:51.000 --> 33:53.000
Literary Review and a great

33:53.000 --> 33:55.000
leader of the Chicago Avant

33:55.000 --> 33:57.000
Garde, and he has this wonderful

33:57.000 --> 33:59.000
thing where he says you can't,

33:59.000 --> 34:03.000
these people are being hounded

34:03.000 --> 34:05.000
to death for behaving sincerely

34:05.000 --> 34:08.000
and you're going to lose, it's

34:08.000 --> 34:10.000
not fair to her and you're going

34:10.000 --> 34:12.000
to lose a great career.

34:12.000 --> 34:14.000
And this had never been known or

34:14.000 --> 34:15.000
published.

34:15.000 --> 34:17.000
This is Floyd Dell looking a

34:17.000 --> 34:20.000
little bit peaked or jaundice.

34:20.000 --> 34:22.000
Well, I put a Northwestern

34:22.000 --> 34:24.000
University graduate student

34:24.000 --> 34:26.000
named Whitney Harrod on the

34:26.000 --> 34:27.000
trail of this column as a sort

34:27.000 --> 34:29.000
of graduate assistant.

34:29.000 --> 34:31.000
And she looked all over creation

34:31.000 --> 34:32.000
to find it, and she finally

34:32.000 --> 34:34.000
located it at the Widener

34:34.000 --> 34:35.000
Library at Harvard.

34:35.000 --> 34:37.000
And this is Whitney, and I like

34:37.000 --> 34:38.000
this picture because I say we

34:38.000 --> 34:40.000
are getting the news from the

34:40.000 --> 34:42.000
horse's mouth.

34:42.000 --> 34:44.000
[LAUGHTER]

34:44.000 --> 34:47.000
Finally, one of the treasures

34:47.000 --> 34:50.000
of the State Historical Society

34:50.000 --> 34:52.000
is a collection of photographs

34:52.000 --> 34:54.000
of the valley taken

34:54.000 --> 34:55.000
by Frank Lloyd Wright himself

34:55.000 --> 34:57.000
in 1900.

34:57.000 --> 34:59.000
Panoramic photographs that have

34:59.000 --> 35:00.000
almost an Asian quality to them,

35:00.000 --> 35:02.000
and when I was looking through

35:02.000 --> 35:05.000
the prints, my wife Elaine said

35:05.000 --> 35:07.000
I think that those prints go

35:07.000 --> 35:08.000
together.

35:08.000 --> 35:10.000
And we looked closer and she was

35:10.000 --> 35:12.000
able to see the junctures

35:12.000 --> 35:13.000
between three of them.

35:13.000 --> 35:15.000
And suddenly, what Wright was

35:15.000 --> 35:17.000
intending all along became

35:17.000 --> 35:18.000
apparent which was to take a

35:18.000 --> 35:20.000
panoramic photograph of the

35:20.000 --> 35:22.000
valley from the vantage point at

35:22.000 --> 35:24.000
the end of the valley looking

35:24.000 --> 35:26.000
toward the Wisconsin River.

35:26.000 --> 35:28.000
And so you see Taliesin's future

35:28.000 --> 35:31.000
site is up here on this side.

35:31.000 --> 35:34.000
But this is a discovery in

35:34.000 --> 35:36.000
itself.

35:36.000 --> 35:38.000
The pictures had been known for

35:38.000 --> 35:39.000
a while, but no one had ever

35:39.000 --> 35:41.000
seen this part of it.

35:41.000 --> 35:42.000
And so, who was my discoverer?

35:42.000 --> 35:45.000
My one and only, Elaine.

35:45.000 --> 35:46.000
[LAUGHTER]

35:46.000 --> 35:48.000
And here she is with

35:48.000 --> 35:49.000
Wright's muse.

35:49.000 --> 35:51.000
So I thank her, and I leave you

35:51.000 --> 35:54.000
back at Taliesin III,

35:54.000 --> 35:58.000
which was built twice more

35:58.000 --> 36:00.000
and had another,

36:00.000 --> 36:02.000
quite a different life when

36:02.000 --> 36:05.000
the Henkens arrived some time.

36:05.000 --> 36:08.000
I've read their book.

36:08.000 --> 36:09.000
It's really quite a different

36:09.000 --> 36:11.000
kind of place.

36:11.000 --> 36:12.000
In fact, sometimes I think,

36:12.000 --> 36:14.000
well, Taliesin I

36:14.000 --> 36:16.000
felt more like Tuscany;

36:16.000 --> 36:17.000
Taliesin III feels more like

36:17.000 --> 36:19.000
Transylvania.

36:19.000 --> 36:20.000
[LAUGHTER]

36:20.000 --> 36:22.000
So I give this to you.

36:22.000 --> 36:23.000
Thank you very much.

36:23.000 --> 36:26.000
[APPLAUSE]

36:37.000 --> 36:39.000
>> If you want to come up,

36:39.000 --> 36:40.000
that's fine.

36:40.000 --> 36:41.000
>> Wonderful.

36:41.000 --> 36:42.000
All right, I want to introduce

36:42.000 --> 36:43.000
our next sort of part of the

36:43.000 --> 36:44.000
panel.

36:44.000 --> 36:46.000
We have four people in this.

36:46.000 --> 36:48.000
So, I'll begin by introducing

36:48.000 --> 36:50.000
Sarah Leavitt, who will be, I

36:50.000 --> 36:53.000
think, reading for us today.

36:53.000 --> 36:54.000
Sarah's curator at the National

36:54.000 --> 36:56.000
Building Museum in Washington,

36:56.000 --> 36:57.000
DC, where her recent exhibitions

36:57.000 --> 37:00.000
have included House of Cars:

37:00.000 --> 37:02.000
Innovation and the Parking

37:02.000 --> 37:04.000
Garage of 2009 and House and

37:04.000 --> 37:06.000
Home of 2012.

37:06.000 --> 37:08.000
She previously held the position

37:08.000 --> 37:10.000
of associate historian and

37:10.000 --> 37:12.000
curator at the Office of NIH

37:12.000 --> 37:14.000
History at the National

37:14.000 --> 37:16.000
Institutes of Health in

37:16.000 --> 37:18.000
Bethesda, Maryland.

37:18.000 --> 37:20.000
Her other research and museum

37:20.000 --> 37:21.000
experience include positions at

37:21.000 --> 37:22.000
the consulting firm History

37:22.000 --> 37:24.000
Associates as well as the Women

37:24.000 --> 37:26.000
of the West Museum in Boulder,

37:26.000 --> 37:27.000
Colorado, and the Slater Mill

37:27.000 --> 37:29.000
Historic Site in Pawtucket,

37:29.000 --> 37:30.000
Rhode Island.

37:30.000 --> 37:32.000
Her book, "From Catharine

37:32.000 --> 37:33.000
Beecher to Martha Stewart:

37:33.000 --> 37:34.000
A Cultural History of Domestic

37:34.000 --> 37:36.000
Advice," was published by

37:36.000 --> 37:38.000
the University of North Carolina

37:38.000 --> 37:40.000
Press in 2002.

37:40.000 --> 37:42.000
Other publications include

37:42.000 --> 37:43.000
articles on the history of the

37:43.000 --> 37:45.000
pregnancy test, online

37:45.000 --> 37:47.000
motherhood communities, and the

37:47.000 --> 37:49.000
television show Veronica Mars.

37:49.000 --> 37:51.000
She's most recently the editor

37:51.000 --> 37:53.000
of a publication called Taliesin

37:53.000 --> 37:55.000
Diary: A Year With Frank Lloyd

37:55.000 --> 37:56.000
Wright, and you'll hear about

37:56.000 --> 37:57.000
that today.

37:57.000 --> 37:59.000
Sarah graduated from Wesleyan

37:59.000 --> 38:00.000
University and holds a master's

38:00.000 --> 38:02.000
degree in museum studies and a

38:02.000 --> 38:04.000
PhD in American studies from

38:04.000 --> 38:06.000
Brown University.

38:06.000 --> 38:08.000
We will also hear from the three

38:08.000 --> 38:09.000
members of the Henken family.

38:09.000 --> 38:10.000
And I'll begin with Elissa

38:10.000 --> 38:11.000
Henken.

38:11.000 --> 38:13.000
Elissa R Henken earned her

38:13.000 --> 38:15.000
bachelor of arts in folklore and

38:15.000 --> 38:17.000
mythology at Radcliffe College

38:17.000 --> 38:18.000
at Harvard, her master's in

38:18.000 --> 38:20.000
Welsh language and literature at

38:20.000 --> 38:22.000
the University College of Wales,

38:22.000 --> 38:24.000
and her PhD at the Folklore

38:24.000 --> 38:26.000
Institute at Indiana University.

38:26.000 --> 38:28.000
She now teaches folklore and

38:28.000 --> 38:30.000
Celtic studies as a professor at

38:30.000 --> 38:32.000
the University of Georgia.

38:32.000 --> 38:34.000
Her published works include two

38:34.000 --> 38:36.000
books on Welsh saints, one on

38:36.000 --> 38:38.000
the Welsh national redeemer,

38:38.000 --> 38:40.000
Owain, I don't know how to

38:40.000 --> 38:41.000
pronounce this, Glyndwr.

38:41.000 --> 38:43.000
[LAUGHTER]

38:43.000 --> 38:44.000
And one co-authored with

38:44.000 --> 38:46.000
Mariamne H Whatley on folklore

38:46.000 --> 38:47.000
and human sexuality.

38:47.000 --> 38:49.000
She has also published articles

38:49.000 --> 38:50.000
on civil war legendary and

38:50.000 --> 38:52.000
developments in contemporary

38:52.000 --> 38:54.000
legend.

38:54.000 --> 38:55.000
Jonathan T Henken is a

38:55.000 --> 38:56.000
professional bagpiper and

38:56.000 --> 38:58.000
cabinetmaker.

38:58.000 --> 39:00.000
After earning his bachelor of

39:00.000 --> 39:02.000
science in oceanography from New

39:02.000 --> 39:04.000
York University, he develop his

39:04.000 --> 39:05.000
concurrent careers, using the

39:05.000 --> 39:07.000
knowledge of carpentry he

39:07.000 --> 39:09.000
developed growing up in Usonia.

39:09.000 --> 39:11.000
He serves as the Pipe Major

39:11.000 --> 39:12.000
of Mount Kisco Scottish Pipes

39:12.000 --> 39:14.000
and Drums, while also doing

39:14.000 --> 39:16.000
extensive solo piping.

39:16.000 --> 39:18.000
His work has been diverse,

39:18.000 --> 39:20.000
including being the Forbes

39:20.000 --> 39:21.000
Corporate and family piper,

39:21.000 --> 39:23.000
serving as the US Piper for the

39:23.000 --> 39:25.000
Bank of Scotland, performing as

39:25.000 --> 39:27.000
a guest soloist with the New

39:27.000 --> 39:29.000
York Pops at Carnegie Hall and

39:29.000 --> 39:30.000
with the New Haven Symphony

39:30.000 --> 39:32.000
Orchestra, playing at curling

39:32.000 --> 39:34.000
matches, fashion shows, and

39:34.000 --> 39:35.000
social events, including the

39:35.000 --> 39:37.000
opening of the Alexander McQueen

39:37.000 --> 39:38.000
exhibit at the Metropolitan

39:38.000 --> 39:40.000
Museum of Art.

39:40.000 --> 39:42.000
He also has an animal rescue

39:42.000 --> 39:44.000
farm and restores, shows, and

39:44.000 --> 39:46.000
rides antique motorcycles.

39:46.000 --> 39:49.000
Mariamne Henken Whatley is

39:49.000 --> 39:50.000
professor emerita in the

39:50.000 --> 39:52.000
Departments of Gender and

39:52.000 --> 39:53.000
Women's Studies and Curriculum

39:53.000 --> 39:55.000
and Instruction at the

39:55.000 --> 39:56.000
University of Wisconsin Madison,

39:56.000 --> 39:58.000
where she also served for many

39:58.000 --> 40:00.000
years as the chair of GWS and as

40:00.000 --> 40:01.000
associate dean in the School of

40:01.000 --> 40:03.000
Education.

40:03.000 --> 40:05.000
She earned her bachelor of arts

40:05.000 --> 40:06.000
in English from Radcliffe and

40:06.000 --> 40:08.000
her master of science and PhD in

40:08.000 --> 40:10.000
biological sciences from

40:10.000 --> 40:11.000
Northwestern University.

40:11.000 --> 40:13.000
She has taught and written

40:13.000 --> 40:14.000
extensively about women's

40:14.000 --> 40:16.000
health, feminist approaches to

40:16.000 --> 40:18.000
science and sexuality education.

40:18.000 --> 40:20.000
She co-edited, with Nancy

40:20.000 --> 40:22.000
Worcester, five editions of

40:22.000 --> 40:24.000
women's health text and

40:24.000 --> 40:26.000
co-authored, with Elissa Henken,

40:26.000 --> 40:28.000
"Did You Hear About the Girl

40:28.000 --> 40:30.000
Who...?: Contemporary Legends,

40:30.000 --> 40:34.000
Folklore, and Human Sexuality."

40:34.000 --> 40:35.000
So, I want to welcome all our

40:35.000 --> 40:37.000
panelists, and I look forward

40:37.000 --> 40:38.000
to an exciting discussion.

40:38.000 --> 40:41.000
[APPLAUSE]

40:45.000 --> 40:46.000
>> Hi.

40:46.000 --> 40:47.000
Of course, my most important

40:47.000 --> 40:49.000
qualification bringing me here

40:49.000 --> 40:50.000
today is that I am from the

40:50.000 --> 40:53.000
great state of Wisconsin, and

40:53.000 --> 40:54.000
it's a pleasure to be back here

40:54.000 --> 40:56.000
today.

40:56.000 --> 40:57.000
I'm just going to really briefly

40:57.000 --> 40:58.000
tell you a little about our

40:58.000 --> 41:00.000
book, and I'm going to let these

41:00.000 --> 41:01.000
folks read from the diary and

41:01.000 --> 41:03.000
really give you a sense of what

41:03.000 --> 41:05.000
the process was.

41:05.000 --> 41:07.000
I want to say just a little bit

41:07.000 --> 41:09.000
about the National Building

41:09.000 --> 41:10.000
Museum.

41:10.000 --> 41:11.000
For those of you who have never

41:11.000 --> 41:13.000
been to see use in Washington,

41:13.000 --> 41:14.000
DC, we're a museum of

41:14.000 --> 41:15.000
architecture and design.

41:15.000 --> 41:17.000
So, we were pretty excited when

41:17.000 --> 41:19.000
we got this diary that Mariamne

41:19.000 --> 41:21.000
sent a couple years ago.

41:21.000 --> 41:23.000
We, who like to think we know

41:23.000 --> 41:25.000
something about Frank Lloyd

41:25.000 --> 41:26.000
Wright and the Fellowship, were

41:26.000 --> 41:28.000
just thrilled to learn so many

41:28.000 --> 41:31.000
new things just opening random

41:31.000 --> 41:32.000
pages of the diary, which is

41:32.000 --> 41:33.000
what we started doing.

41:33.000 --> 41:35.000
And it seems like on every page

41:35.000 --> 41:38.000
after you get through the part

41:38.000 --> 41:40.000
about cooking all the food,

41:40.000 --> 41:41.000
which there's a lot about that

41:41.000 --> 41:44.000
which I found fascinating also,

41:44.000 --> 41:46.000
there was so much interesting

41:46.000 --> 41:48.000
material about the rights.

41:48.000 --> 41:50.000
We've jumped, of course,

41:50.000 --> 41:51.000
30 years since Ron McCrea's

41:51.000 --> 41:54.000
story into the 1940s.

41:54.000 --> 41:57.000
Very different place at

41:57.000 --> 41:59.000
Taliesin.

41:59.000 --> 42:02.000
Very different architect in

42:02.000 --> 42:03.000
Frank Lloyd Wright.

42:03.000 --> 42:05.000
He's, of course, been through

42:05.000 --> 42:06.000
several iterations of his home,

42:06.000 --> 42:08.000
several wives, several projects

42:08.000 --> 42:11.000
himself.

42:11.000 --> 42:14.000
At the Building Museum when we

42:14.000 --> 42:15.000
first got the book, we, in fact,

42:15.000 --> 42:17.000
had just done a program from one

42:17.000 --> 42:19.000
of our founding members, Beverly

42:19.000 --> 42:21.000
Willis, studies women in

42:21.000 --> 42:23.000
architecture specifically and

42:23.000 --> 42:25.000
had just worked on a little

42:25.000 --> 42:26.000
movie project about women who

42:26.000 --> 42:28.000
had worked with Frank Lloyd

42:28.000 --> 42:29.000
Wright.

42:29.000 --> 42:30.000
So this was a particularly

42:30.000 --> 42:32.000
opportune moment for us to get

42:32.000 --> 42:34.000
this diary.

42:34.000 --> 42:36.000
And when we first opened, I just

42:36.000 --> 42:39.000
give just for an example since

42:39.000 --> 42:41.000
we're in the first week or so of

42:41.000 --> 42:42.000
November, in the first week of

42:42.000 --> 42:45.000
November in the diary Priscilla

42:45.000 --> 42:47.000
Henken talks about, first of

42:47.000 --> 42:48.000
all, a little postmortem of

42:48.000 --> 42:50.000
Halloween.

42:50.000 --> 42:51.000
Halloween was a big deal at

42:51.000 --> 42:52.000
Taliesin.

42:52.000 --> 42:53.000
All the fellows dressed up, and

42:53.000 --> 42:55.000
the year that she was there,

42:55.000 --> 42:56.000
they dressed up as famous

42:56.000 --> 42:58.000
paintings or people that were in

42:58.000 --> 42:59.000
famous paintings.

42:59.000 --> 43:01.000
She goes on about what everybody

43:01.000 --> 43:02.000
dressed up like, which was

43:02.000 --> 43:03.000
pretty neat.

43:03.000 --> 43:05.000
She also voted in Wisconsin.

43:05.000 --> 43:06.000
She was pretty excited that you

43:06.000 --> 43:07.000
could just walk right up to the

43:07.000 --> 43:08.000
polls, register to vote, and

43:08.000 --> 43:11.000
take away.

43:11.000 --> 43:12.000
She voted a straight socialist

43:12.000 --> 43:14.000
ticket that year.

43:14.000 --> 43:16.000
And then also in the first week

43:16.000 --> 43:18.000
of November, besides, again,

43:18.000 --> 43:20.000
cooking a lot of food, she talks

43:20.000 --> 43:22.000
about Armistice Day, which, of

43:22.000 --> 43:23.000
course, we now know as Veterans

43:23.000 --> 43:25.000
Day, and that led into a whole

43:25.000 --> 43:29.000
story about World War II and

43:29.000 --> 43:31.000
what it was like to be at

43:31.000 --> 43:33.000
Taliesin during World War II.

43:33.000 --> 43:35.000
And, of course, the story of

43:35.000 --> 43:37.000
conscientious objectors there at

43:37.000 --> 43:39.000
Taliesin, which led us into a

43:39.000 --> 43:42.000
whole story, it's a thrill to

43:42.000 --> 43:44.000
have Marcus Weston here with us

43:44.000 --> 43:46.000
today because he, as you'll see

43:46.000 --> 43:48.000
when you read the diary, plays a

43:48.000 --> 43:50.000
very big part, both in

43:50.000 --> 43:52.000
Priscilla's world at Taliesin

43:52.000 --> 43:55.000
but also, of course, in the

43:55.000 --> 43:57.000
history of the Fellowship.

43:57.000 --> 44:00.000
Anyway, so we decided that what

44:00.000 --> 44:02.000
would be really great is for all

44:02.000 --> 44:04.000
of us in the curatorial staff

44:04.000 --> 44:06.000
who are usually working on

44:06.000 --> 44:08.000
exhibitions, we really got to

44:08.000 --> 44:09.000
get into some primary source

44:09.000 --> 44:11.000
research and do some history

44:11.000 --> 44:12.000
writing, which was a real thrill

44:12.000 --> 44:13.000
for us.

44:13.000 --> 44:14.000
And one of the things that we

44:14.000 --> 44:16.000
did was look into the story of

44:16.000 --> 44:18.000
conscientious objection at

44:18.000 --> 44:20.000
Taliesin, and we used the

44:20.000 --> 44:22.000
Freedom of Information Act to

44:22.000 --> 44:25.000
FOIA his, Frank Lloyd Wright's

44:25.000 --> 44:27.000
file, FBI file, which is, as you

44:27.000 --> 44:30.000
maybe can imagine, very large.

44:30.000 --> 44:32.000
[LAUGHTER]

44:32.000 --> 44:33.000
And it was really fun.

44:33.000 --> 44:34.000
We spent several days, our whole

44:34.000 --> 44:36.000
staff, just pouring through.

44:36.000 --> 44:37.000
There's a lot of redacted

44:37.000 --> 44:40.000
material, a lot of black lines,

44:40.000 --> 44:43.000
but there's several telegrams

44:43.000 --> 44:45.000
between J Edgar Hoover

44:45.000 --> 44:47.000
and the Milwaukee FBI office,

44:47.000 --> 44:49.000
specifically about what was

44:49.000 --> 44:50.000
going on at Taliesin right in

44:50.000 --> 44:51.000
1942-1943, in that period when

44:51.000 --> 44:54.000
Priscilla and David Henken were

44:54.000 --> 44:55.000
there.

44:55.000 --> 44:56.000
So that was a real thrill for

44:56.000 --> 44:58.000
us, and we got to really look

44:58.000 --> 44:59.000
into that and write about that

44:59.000 --> 45:01.000
experience.

45:01.000 --> 45:02.000
Another thing that we looked

45:02.000 --> 45:04.000
into was the film program at

45:04.000 --> 45:05.000
Taliesin.

45:05.000 --> 45:08.000
That was a really innovative and

45:08.000 --> 45:10.000
unique project that Wright was

45:10.000 --> 45:12.000
doing there, getting a lot of

45:12.000 --> 45:15.000
films from New York and from

45:15.000 --> 45:17.000
distributors.

45:17.000 --> 45:18.000
He showed a lot of Russian

45:18.000 --> 45:20.000
films.

45:20.000 --> 45:21.000
He showed a lot of Disney films.

45:21.000 --> 45:23.000
There's a pretty big variation

45:23.000 --> 45:24.000
in the film program there, and

45:24.000 --> 45:26.000
Priscilla goes through every

45:26.000 --> 45:27.000
week in the diary and talks

45:27.000 --> 45:29.000
about every film that they watch

45:29.000 --> 45:32.000
and some of her impressions and

45:32.000 --> 45:34.000
the other fellows impressions

45:34.000 --> 45:35.000
and also Wright's impressions of

45:35.000 --> 45:37.000
those films.

45:37.000 --> 45:39.000
So that was something that we

45:39.000 --> 45:42.000
kind of pulled out of the diary

45:42.000 --> 45:43.000
as we were looking through it.

45:43.000 --> 45:47.000
Another thing that we found

45:47.000 --> 45:49.000
really interesting was her

45:49.000 --> 45:52.000
discussion of being a Jewish

45:52.000 --> 45:54.000
couple moving from New York City

45:54.000 --> 45:57.000
into rural Wisconsin, and one of

45:57.000 --> 45:59.000
the things that we all kind of

45:59.000 --> 46:01.000
think we know about Wright is

46:01.000 --> 46:03.000
his antisemitism.

46:03.000 --> 46:05.000
So that was interesting watching

46:05.000 --> 46:06.000
her kind of grapple with that

46:06.000 --> 46:08.000
throughout the year that she was

46:08.000 --> 46:09.000
there.

46:09.000 --> 46:11.000
Of course, another thing that

46:11.000 --> 46:12.000
she talks about a lot is her

46:12.000 --> 46:13.000
experience of just being in

46:13.000 --> 46:15.000
Wisconsin, of traveling around.

46:15.000 --> 46:16.000
They went to Mineral Point.

46:16.000 --> 46:18.000
She traveled through, she came

46:18.000 --> 46:20.000
to Madison, walked around the

46:20.000 --> 46:22.000
lakes, she talks about the

46:22.000 --> 46:23.000
Isthmus, and she went into the

46:23.000 --> 46:25.000
State Historical Society and the

46:25.000 --> 46:26.000
Capitol.

46:26.000 --> 46:28.000
It was neat for me, having, of

46:28.000 --> 46:30.000
course, this connection with

46:30.000 --> 46:32.000
Madison, to hear her views about

46:32.000 --> 46:34.000
what she called the soldier

46:34.000 --> 46:35.000
town, since, of course, she was

46:35.000 --> 46:37.000
here during the war.

46:37.000 --> 46:40.000
So, I going to turn this over to

46:40.000 --> 46:43.000
the Henkens so they can read

46:43.000 --> 46:44.000
from the diary, and you'll get a

46:44.000 --> 46:47.000
sense of her.

46:47.000 --> 46:48.000
But I just do want to say it's

46:48.000 --> 46:50.000
such an honor for us to be part

46:50.000 --> 46:51.000
of this project, and one of the

46:51.000 --> 46:53.000
most fun things is when you read

46:53.000 --> 46:54.000
someone else's diary, of course,

46:54.000 --> 46:55.000
it's a very personal story, but

46:55.000 --> 46:57.000
the way that Priscilla writes

46:57.000 --> 46:59.000
the diary, she's a little

46:59.000 --> 47:00.000
snarky.

47:00.000 --> 47:02.000
She's not always, she is very

47:02.000 --> 47:05.000
free with her discussion of

47:05.000 --> 47:09.000
Wright and also Olgivanna

47:09.000 --> 47:11.000
Wright, the third Mrs. Wright,

47:11.000 --> 47:14.000
and that makes it fun to read,

47:14.000 --> 47:15.000
but it's also a really nice,

47:15.000 --> 47:17.000
on-the-ground reporting of what

47:17.000 --> 47:18.000
was happening there.

47:18.000 --> 47:20.000
One of the things that, as

47:20.000 --> 47:22.000
Wright scholars that we've read

47:22.000 --> 47:23.000
all of these memoirs of the

47:23.000 --> 47:25.000
fellows that are written so many

47:25.000 --> 47:26.000
decades after the fact, she's

47:26.000 --> 47:29.000
really writing, she's able to be

47:29.000 --> 47:30.000
a little more free in what she's

47:30.000 --> 47:32.000
saying, which, of course, makes

47:32.000 --> 47:33.000
it fun for us.

47:33.000 --> 47:35.000
So, we went through and tried to

47:35.000 --> 47:36.000
really pick out all of her

47:36.000 --> 47:39.000
cultural references and expand

47:39.000 --> 47:40.000
on those a little bit to make

47:40.000 --> 47:42.000
the diary easier to read.

47:42.000 --> 47:43.000
And we like to think of it as

47:43.000 --> 47:45.000
kind of our story too, that

47:45.000 --> 47:47.000
she's kind of telling this

47:47.000 --> 47:48.000
broader story about Wright that

47:48.000 --> 47:50.000
we can then learn to kind of

47:50.000 --> 47:52.000
fill in our understanding of

47:52.000 --> 47:53.000
Wright and his world.

47:53.000 --> 47:55.000
But, of course, most

47:55.000 --> 47:56.000
importantly, it's also her

47:56.000 --> 47:57.000
personal story, her family's

47:57.000 --> 47:58.000
story.

47:58.000 --> 47:59.000
And, with that, I'll turn it

47:59.000 --> 48:02.000
over to the Henkens.

48:02.000 --> 48:04.000
[APPLAUSE]

48:09.000 --> 48:11.000
>> So, I'm Mariamne.

48:11.000 --> 48:13.000
Jonathan, Elissa, and as you can

48:13.000 --> 48:15.000
tell from our biographies,

48:15.000 --> 48:16.000
we're very well prepared to talk

48:16.000 --> 48:18.000
to about Frank Lloyd Wright

48:18.000 --> 48:19.000
architecture and historical

48:19.000 --> 48:21.000
diary research.

48:21.000 --> 48:23.000
[LAUGHTER]

48:23.000 --> 48:25.000
In October 1942,

48:25.000 --> 48:27.000
so 70 years ago, our parents,

48:27.000 --> 48:29.000
Priscilla and David Henken, left

48:29.000 --> 48:31.000
New York City to join the

48:31.000 --> 48:33.000
Taliesin Fellowship in order to

48:33.000 --> 48:35.000
study with Frank Lloyd Wright.

48:35.000 --> 48:37.000
Priscilla, who graduated from

48:37.000 --> 48:38.000
Hunter College and had a

48:38.000 --> 48:40.000
master's in English from

48:40.000 --> 48:42.000
Columbia by age 19, was a high

48:42.000 --> 48:44.000
school English teacher.

48:44.000 --> 48:45.000
David, who had a master's in

48:45.000 --> 48:47.000
mechanical engineering from City

48:47.000 --> 48:49.000
College, worked as a designer.

48:49.000 --> 48:51.000
Both were children of Jewish

48:51.000 --> 48:52.000
immigrants from the Ukraine who

48:52.000 --> 48:54.000
worked in the garment and

48:54.000 --> 48:55.000
millinery trades and were active

48:55.000 --> 48:57.000
in unions.

48:57.000 --> 48:59.000
David and Priscilla had a dream

48:59.000 --> 49:00.000
of forming a cooperative

49:00.000 --> 49:02.000
community in rural area outside

49:02.000 --> 49:03.000
New York City.

49:03.000 --> 49:05.000
When they saw an exhibit on

49:05.000 --> 49:07.000
Frank Lloyd Wright's Broadacre

49:07.000 --> 49:09.000
City, David realized that

49:09.000 --> 49:10.000
Mr. Wright could help them with

49:10.000 --> 49:12.000
both the architectural and

49:12.000 --> 49:13.000
social visions for such a

49:13.000 --> 49:15.000
community.

49:15.000 --> 49:16.000
By the way, they also actually

49:16.000 --> 49:18.000
found out that Frank Lloyd

49:18.000 --> 49:19.000
Wright was still alive and that

49:19.000 --> 49:20.000
it was possible to work with him

49:20.000 --> 49:21.000
when they went to that exhibit

49:21.000 --> 49:22.000
because he was such an icon,

49:22.000 --> 49:24.000
they thought he had died.

49:24.000 --> 49:25.000
[LAUGHTER]

49:25.000 --> 49:26.000
Priscilla took leave from

49:26.000 --> 49:28.000
teaching and, with Mr. Wright's

49:28.000 --> 49:29.000
permission and his offer to have

49:29.000 --> 49:31.000
David's tuition cover both of

49:31.000 --> 49:34.000
them, accompanied David

49:34.000 --> 49:35.000
to Taliesin.

49:35.000 --> 49:37.000
They were 24 and 27 during their

49:37.000 --> 49:39.000
year at Taliesin.

49:39.000 --> 49:41.000
Priscilla kept a daily diary

49:41.000 --> 49:43.000
while she was there.

49:43.000 --> 49:45.000
While occasionally she read to

49:45.000 --> 49:47.000
us, her three children, short,

49:47.000 --> 49:48.000
entertaining passages from her

49:48.000 --> 49:51.000
diary, most memorably a vivid

49:51.000 --> 49:53.000
description of the Halloween

49:53.000 --> 49:55.000
party that Sarah mentioned, we

49:55.000 --> 49:57.000
never read it in its entirety

49:57.000 --> 49:58.000
until long after her death at

49:58.000 --> 50:01.000
age 50 in 1969 and after our

50:01.000 --> 50:04.000
father's death in 1985.

50:04.000 --> 50:06.000
For us, the diary gave us much

50:06.000 --> 50:07.000
better understanding of an

50:07.000 --> 50:09.000
experience that had been so

50:09.000 --> 50:11.000
central to their lives and,

50:11.000 --> 50:13.000
therefore, so central to our

50:13.000 --> 50:15.000
lives.

50:15.000 --> 50:16.000
The environment we grew up in

50:16.000 --> 50:18.000
was very strongly influenced by

50:18.000 --> 50:20.000
Frank Lloyd Wright.

50:20.000 --> 50:21.000
Employing Mr. Wright's

50:21.000 --> 50:23.000
principles, our father designed

50:23.000 --> 50:24.000
and built our home in a

50:24.000 --> 50:26.000
community our parents founded,

50:26.000 --> 50:27.000
Usonia Homes in Pleasantville,

50:27.000 --> 50:29.000
New York, in which Mr. Wright

50:29.000 --> 50:31.000
was very involved in its initial

50:31.000 --> 50:32.000
years.

50:32.000 --> 50:34.000
We grew up hearing stories of

50:34.000 --> 50:36.000
Taliesin and the Wrights from

50:36.000 --> 50:37.000
many of our parents' friends who

50:37.000 --> 50:39.000
had been at Taliesin, including

50:39.000 --> 50:41.000
Pedro Guerrero, the great Wright

50:41.000 --> 50:44.000
photographer who died recently.

50:44.000 --> 50:46.000
And, as Sarah mentioned, another

50:46.000 --> 50:49.000
very great friend, an old family

50:49.000 --> 50:50.000
friend, Marcus Weston is in the

50:50.000 --> 50:52.000
audience, who was a Taliesin

50:52.000 --> 50:55.000
apprentice with them and played

50:55.000 --> 50:58.000
a prominent role in the diary.

50:58.000 --> 51:01.000
In a diary entry--

51:01.000 --> 51:03.000
Oops.

51:03.000 --> 51:04.000
>> Sorry.

51:04.000 --> 51:05.000
>> That's okay.

51:05.000 --> 51:06.000
Marcus.

51:06.000 --> 51:09.000
[LAUGHTER]

51:09.000 --> 51:11.000
In a diary entry

51:11.000 --> 51:13.000
in her last week at Taliesin,

51:13.000 --> 51:15.000
Priscilla wrote that Marcus is

51:15.000 --> 51:17.000
one of the things for which we

51:17.000 --> 51:21.000
have to be grateful to Taliesin.

51:21.000 --> 51:24.000
>> Because the diary does not

51:24.000 --> 51:25.000
lend itself to the reading of

51:25.000 --> 51:26.000
long passages, we've put

51:26.000 --> 51:28.000
together some themes found

51:28.000 --> 51:30.000
throughout and illustrated those

51:30.000 --> 51:32.000
with short readings from the

51:32.000 --> 51:33.000
diary.

51:33.000 --> 51:36.000
The diary begins in October

51:36.000 --> 51:37.000
1942, 70 years ago, on their

51:37.000 --> 51:39.000
first day as they eagerly throw

51:39.000 --> 51:41.000
themselves into observing,

51:41.000 --> 51:44.000
working, and learning.

51:46.000 --> 51:49.000
>> Sorry.

51:49.000 --> 51:51.000
Our first view of Taliesin in

51:51.000 --> 51:54.000
daylight after 6:50 rising.

51:54.000 --> 51:56.000
Beautiful view of sloping hills.

51:56.000 --> 51:58.000
[MICROPHONE FEEDBACK]

51:58.000 --> 52:00.000
A carved wooden figure

52:00.000 --> 52:01.000
in the attitude of prayer

52:01.000 --> 52:03.000
outside our bedroom window.

52:03.000 --> 52:05.000
Fluffy white feathers on the

52:05.000 --> 52:06.000
stairs as we went up to

52:06.000 --> 52:07.000
breakfast,

52:07.000 --> 52:09.000
escorted by David Davidson.

52:09.000 --> 52:10.000
Feathers are peacocks',

52:10.000 --> 52:12.000
white, gray, iridescent.

52:12.000 --> 52:14.000
There are two little pea chicks.

52:14.000 --> 52:16.000
There were five, but they died

52:16.000 --> 52:17.000
as a result of being stuck

52:17.000 --> 52:19.000
to a newly tarred roof.

52:19.000 --> 52:22.000
[LAUGHTER]

52:22.000 --> 52:23.000
Met Mr. Wright.

52:23.000 --> 52:25.000
Wonderful, warm personality.

52:25.000 --> 52:26.000
A man is no good without his

52:26.000 --> 52:28.000
wife.

52:28.000 --> 52:30.000
Dug up parsnips in the vegetable

52:30.000 --> 52:31.000
garden with Ruth.

52:31.000 --> 52:33.000
It's fun turning over the rich

52:33.000 --> 52:35.000
brown earth and using a spading

52:35.000 --> 52:36.000
fork.

52:36.000 --> 52:38.000
Her enthusiasm frightens me.

52:38.000 --> 52:40.000
She bit into a parsnip with the

52:40.000 --> 52:41.000
wet earth clinging to it and

52:41.000 --> 52:43.000
liked it.

52:43.000 --> 52:45.000
I brushed mine off gently before

52:45.000 --> 52:47.000
attempting to follow suit.

52:47.000 --> 52:49.000
David hauled gravel from

52:49.000 --> 52:51.000
Mazomanie.

52:51.000 --> 52:53.000
Picked 6 bushels of apples with

52:53.000 --> 52:54.000
Ruth and Marcus.

52:54.000 --> 52:57.000
At tea, Mr. Wright told David to

52:57.000 --> 52:58.000
sit next to me, and I said he

52:58.000 --> 53:00.000
had to because I was the only

53:00.000 --> 53:02.000
familiar thing he had seen all

53:02.000 --> 53:04.000
day.

53:04.000 --> 53:07.000
>> Entries recorded Fellowship

53:07.000 --> 53:09.000
conversations and, of course,

53:09.000 --> 53:11.000
Mr. Wright's comments about his

53:11.000 --> 53:13.000
views, life, work, and his many

53:13.000 --> 53:15.000
famous friends.

53:15.000 --> 53:17.000
>> West despises Carl Sandburg

53:17.000 --> 53:19.000
because he's a millionaire many

53:19.000 --> 53:21.000
times over and poses as a common

53:21.000 --> 53:22.000
man.

53:22.000 --> 53:24.000
As a matter of fact, FLW teases

53:24.000 --> 53:26.000
him for this too, once dressing

53:26.000 --> 53:28.000
him up in corduroy baggy

53:28.000 --> 53:30.000
trousers gathered at the ankle,

53:30.000 --> 53:31.000
artist's cape, velveteen beret.

53:31.000 --> 53:34.000
Both of them were snapped and

53:34.000 --> 53:36.000
Sandburg has been trying to get

53:36.000 --> 53:38.000
the picture ever since, fearing

53:38.000 --> 53:39.000
that if it was published, it

53:39.000 --> 53:41.000
would destroy his man of the

53:41.000 --> 53:42.000
people reputation he's been

53:42.000 --> 53:44.000
building up for years.

53:44.000 --> 53:46.000
November 7.

53:46.000 --> 53:48.000
>> Apprentices and their

53:48.000 --> 53:50.000
partners were responsible for

53:50.000 --> 53:52.000
almost all cooking, so it is not

53:52.000 --> 53:53.000
surprising that the diary

53:53.000 --> 53:55.000
includes many passages about

53:55.000 --> 53:56.000
food preparation and menus.

53:56.000 --> 53:58.000
The cooking also included some

53:58.000 --> 53:59.000
risks.

53:59.000 --> 54:01.000
In this passage, a cooking

54:01.000 --> 54:03.000
injury reveals a very charming

54:03.000 --> 54:05.000
Mr. Wright.

54:05.000 --> 54:06.000
>> Peeled apples again.

54:06.000 --> 54:08.000
Cut watermelon rinds for

54:08.000 --> 54:09.000
pickling.

54:09.000 --> 54:10.000
Knife went through middle of my

54:10.000 --> 54:12.000
thumbnail and underneath.

54:12.000 --> 54:13.000
Messy.

54:13.000 --> 54:14.000
I nearly fainted twice.

54:14.000 --> 54:16.000
The second time, FLW saw me turn

54:16.000 --> 54:17.000
green.

54:17.000 --> 54:19.000
A shade he afterward said

54:19.000 --> 54:20.000
contrasted nicely with my hair,

54:20.000 --> 54:22.000
which was red.

54:22.000 --> 54:23.000
[LAUGHTER]

54:23.000 --> 54:24.000
Led me to the hill garden

54:24.000 --> 54:26.000
and spread a Chinese rug for me.

54:26.000 --> 54:28.000
I said when I write my

54:28.000 --> 54:30.000
autobiography, I'll say FLW

54:30.000 --> 54:32.000
spread a carpet for me.

54:32.000 --> 54:34.000
October 6.

54:34.000 --> 54:36.000
>> She never had a chance to

54:36.000 --> 54:38.000
write her autobiography, but she

54:38.000 --> 54:41.000
did leave us this diary.

54:41.000 --> 54:43.000
Some of the most interesting

54:43.000 --> 54:44.000
passages of this contemporaneous

54:44.000 --> 54:46.000
diary are those that expose the

54:46.000 --> 54:48.000
reality behind the public

54:48.000 --> 54:50.000
accounts of Frank Lloyd Wright

54:50.000 --> 54:51.000
and Taliesin, whether presented

54:51.000 --> 54:53.000
by Wright and the Fellowship or

54:53.000 --> 54:55.000
by former apprentices in memoirs

54:55.000 --> 54:57.000
written many years later.

54:57.000 --> 54:59.000
The diary shows Priscilla's and

54:59.000 --> 55:01.000
David's deep respect for

55:01.000 --> 55:03.000
Mr. Wright as a genius and great

55:03.000 --> 55:04.000
architect but also reveals many

55:04.000 --> 55:06.000
negative aspects to their

55:06.000 --> 55:09.000
Taliesin experience.

55:09.000 --> 55:11.000
A Taliesin was apprenticeship

55:11.000 --> 55:12.000
was described publicly as a time

55:12.000 --> 55:14.000
of learning architecture and

55:14.000 --> 55:16.000
aesthetic principles from the

55:16.000 --> 55:17.000
master.

55:17.000 --> 55:19.000
Apprentices were supposed to

55:19.000 --> 55:20.000
become well-educated in the

55:20.000 --> 55:22.000
arts, especially the visual arts

55:22.000 --> 55:24.000
and music, and to learn

55:24.000 --> 55:26.000
construction, stone masonry for

55:26.000 --> 55:28.000
example, in order to understand

55:28.000 --> 55:29.000
fully the principles of

55:29.000 --> 55:31.000
architecture.

55:31.000 --> 55:32.000
Apprentices, who all paid

55:32.000 --> 55:34.000
tuition to Mr. Wright, also were

55:34.000 --> 55:35.000
expected to share in the work of

55:35.000 --> 55:37.000
maintaining the Fellowship and

55:37.000 --> 55:39.000
farm.

55:39.000 --> 55:40.000
This may sound very good, but

55:40.000 --> 55:42.000
the diary shows a strong

55:42.000 --> 55:44.000
imbalance in which the work of

55:44.000 --> 55:45.000
supporting the Fellowship, and

55:45.000 --> 55:47.000
more specifically the Wright

55:47.000 --> 55:49.000
family, was the primary role of

55:49.000 --> 55:51.000
the apprentices.

55:51.000 --> 55:53.000
The architectural instruction,

55:53.000 --> 55:55.000
even work such as a drafting,

55:55.000 --> 55:57.000
took a back seat.

55:57.000 --> 55:59.000
In October 1942, there were 22

55:59.000 --> 56:01.000
people living and working at

56:01.000 --> 56:03.000
Taliesin, as well as special

56:03.000 --> 56:04.000
guests who came for visits of

56:04.000 --> 56:07.000
various lengths.

56:07.000 --> 56:08.000
Priscilla's work included being

56:08.000 --> 56:10.000
the cook one week a month for

56:10.000 --> 56:12.000
lunch and dinner for the entire

56:12.000 --> 56:14.000
group, with separate menus for

56:14.000 --> 56:15.000
the Wrights.

56:15.000 --> 56:17.000
KP duty, vegetable gardening,

56:17.000 --> 56:19.000
and other farm chores, weaving,

56:19.000 --> 56:21.000
canning, cleaning, typing,

56:21.000 --> 56:22.000
editing Mr. Wright's

56:22.000 --> 56:24.000
autobiography, doing

56:24.000 --> 56:26.000
architectural drawings, and

56:26.000 --> 56:27.000
learning to play the recorder to

56:27.000 --> 56:29.000
participate in the concerts

56:29.000 --> 56:30.000
given by the Fellowship.

56:30.000 --> 56:32.000
David's work included farm

56:32.000 --> 56:34.000
chores.

56:34.000 --> 56:35.000
Hauling gravel, boiler duty,

56:35.000 --> 56:37.000
tending to the boiler in the

56:37.000 --> 56:38.000
winter could be a full-time job

56:38.000 --> 56:41.000
involving getting up every two

56:41.000 --> 56:43.000
hours during the night.

56:43.000 --> 56:44.000
KP duty, baking for and

56:44.000 --> 56:46.000
preparing afternoon tea,

56:46.000 --> 56:48.000
building stone walls, drafting,

56:48.000 --> 56:50.000
doing building repairs, and,

56:50.000 --> 56:52.000
after Mr. Wright found out David

56:52.000 --> 56:54.000
was the only one who knew a

56:54.000 --> 56:55.000
great deal about electricity and

56:55.000 --> 56:58.000
lighting, rewiring Taliesin and

56:58.000 --> 56:59.000
putting in permanent wiring in

56:59.000 --> 57:01.000
certain areas for the first

57:01.000 --> 57:03.000
time.

57:03.000 --> 57:05.000
There is no mention in the diary

57:05.000 --> 57:06.000
of instructional time, only of

57:06.000 --> 57:08.000
Mr. Wright talking with the boys

57:08.000 --> 57:10.000
in the evening.

57:10.000 --> 57:12.000
Though sometimes there was

57:12.000 --> 57:14.000
praise, the hard work was made

57:14.000 --> 57:16.000
more difficult due to frequent

57:16.000 --> 57:17.000
criticism and ever-changing

57:17.000 --> 57:20.000
demands, mostly by Mrs. Wright.

57:20.000 --> 57:22.000
Examples of this often show up

57:22.000 --> 57:26.000
in descriptions of cooking duty.

57:26.000 --> 57:27.000
>> Cooked all day with the last

57:27.000 --> 57:29.000
minute's rush.

57:29.000 --> 57:31.000
Not even time to sit down.

57:31.000 --> 57:32.000
Mrs. Wright felt too nauseous

57:32.000 --> 57:34.000
for roast chicken, so I boiled

57:34.000 --> 57:35.000
it for her.

57:35.000 --> 57:37.000
When it was completely boiled,

57:37.000 --> 57:38.000
she sent word that she felt

57:38.000 --> 57:40.000
better and wanted it roasted.

57:40.000 --> 57:42.000
[LAUGHTER]

57:42.000 --> 57:43.000
So, presto chango, a boiled

57:43.000 --> 57:45.000
chicken became a roasted one.

57:45.000 --> 57:48.000
November 29.

57:48.000 --> 57:49.000
My hatred for la dame is burning

57:49.000 --> 57:51.000
with a gem-like flame.

57:51.000 --> 57:54.000
[LAUGHTER]

57:54.000 --> 57:55.000
Steak approved by Kay

57:55.000 --> 57:57.000
and specially prepared for her

57:57.000 --> 57:59.000
was too dry.

57:59.000 --> 58:01.000
Jell-O, too hard.

58:01.000 --> 58:03.000
It's a comfort to know that FLW

58:03.000 --> 58:05.000
yelled, "Dammit, woman, that's

58:05.000 --> 58:06.000
the way I like it."

58:06.000 --> 58:08.000
When I told her she would have

58:08.000 --> 58:09.000
beef shortly because they had

58:09.000 --> 58:11.000
butchered yesterday, she whined,

58:11.000 --> 58:12.000
"Now I won't eat the meat.

58:12.000 --> 58:14.000
Don't you know I can't have

58:14.000 --> 58:16.000
personal relations with animals.

58:16.000 --> 58:17.000
I'm too sensitive."

58:17.000 --> 58:20.000
February 6.

58:20.000 --> 58:22.000
>> As we grew up hearing of long

58:22.000 --> 58:23.000
conversations with former

58:23.000 --> 58:25.000
apprentices at the dinner table,

58:25.000 --> 58:26.000
we realized that while everyone

58:26.000 --> 58:29.000
showed great respect for

58:29.000 --> 58:31.000
Mr. Wright even while

58:31.000 --> 58:32.000
recognizing some of his less

58:32.000 --> 58:34.000
admirable traits, the behavior

58:34.000 --> 58:36.000
of his wife, Olgivanna, evoked

58:36.000 --> 58:38.000
comments that showed their pain

58:38.000 --> 58:39.000
and anger.

58:39.000 --> 58:41.000
Everything they did, no matter

58:41.000 --> 58:42.000
how small, was open to a

58:42.000 --> 58:43.000
criticism.

58:43.000 --> 58:45.000
While some of her comment may be

58:45.000 --> 58:47.000
dismissed as merely irritating,

58:47.000 --> 58:48.000
Mrs. Wright's attacks could be

58:48.000 --> 58:50.000
more serious and led to the

58:50.000 --> 58:51.000
dismissal or resignations of

58:51.000 --> 58:53.000
apprentices.

58:53.000 --> 58:55.000
>> Gordon Lee, fine draftsman,

58:55.000 --> 58:57.000
owned a dog of which he was very

58:57.000 --> 58:59.000
fond.

58:59.000 --> 59:00.000
When its barking became too

59:00.000 --> 59:02.000
annoying, Mrs. W asked him to

59:02.000 --> 59:04.000
shoot the dog, whereupon he told

59:04.000 --> 59:06.000
her to shoot Twip, her dog.

59:06.000 --> 59:08.000
Up shot, immediate dismissal.

59:08.000 --> 59:09.000
November 4.

59:09.000 --> 59:11.000
>> One apprentice, Eleanor,

59:11.000 --> 59:12.000
had become very ill from an

59:12.000 --> 59:13.000
abscessed tooth and was being

59:13.000 --> 59:15.000
nursed by another apprentice,

59:15.000 --> 59:18.000
Kenn.

59:18.000 --> 59:19.000
>> Mrs. Wright discovered today,

59:19.000 --> 59:21.000
though why not sooner with Kay

59:21.000 --> 59:23.000
around I don't know, that

59:23.000 --> 59:25.000
Eleanor was being taken care of

59:25.000 --> 59:26.000
by Kenn in his room.

59:26.000 --> 59:28.000
She stormed up after supper,

59:28.000 --> 59:30.000
told her her behavior was

59:30.000 --> 59:31.000
disgusting and morally

59:31.000 --> 59:33.000
revolting.

59:33.000 --> 59:34.000
What would people think if they

59:34.000 --> 59:36.000
knew that she had a male nurse?

59:36.000 --> 59:37.000
That she was a burden to the

59:37.000 --> 59:38.000
fellowship and she'd always

59:38.000 --> 59:40.000
been.

59:40.000 --> 59:41.000
That she should have taken

59:41.000 --> 59:42.000
Mrs. Wright into her confidence

59:42.000 --> 59:44.000
where she was or that her room

59:44.000 --> 59:45.000
was too cold, etc, etc, etc.

59:45.000 --> 59:47.000
Eleanor returned

59:47.000 --> 59:49.000
pretty nearly in kind.

59:49.000 --> 59:50.000
Eleanor decided to leave

59:50.000 --> 59:52.000
tomorrow, though we tried to

59:52.000 --> 59:53.000
dissuade her.

59:53.000 --> 59:55.000
December 11.

59:55.000 --> 59:58.000
>> FLW once drove his car and

59:58.000 --> 59:59.000
wrecked it so badly that repairs

59:59.000 --> 01:00:02.000
cost $1500.

01:00:02.000 --> 01:00:04.000
He asked Rowen and Jerry to pick

01:00:04.000 --> 01:00:06.000
it up on their return from a

01:00:06.000 --> 01:00:07.000
visit to California, and asked

01:00:07.000 --> 01:00:09.000
Rowen's father for the money.

01:00:09.000 --> 01:00:11.000
Rowen, Sr, refused.

01:00:11.000 --> 01:00:13.000
Wright wrote him, "If this is

01:00:13.000 --> 01:00:14.000
all the Fellowship means to you,

01:00:14.000 --> 01:00:16.000
both your children can leave

01:00:16.000 --> 01:00:17.000
immediately."

01:00:17.000 --> 01:00:19.000
They did when things became

01:00:19.000 --> 01:00:21.000
more unpleasant.

01:00:21.000 --> 01:00:23.000
Temper, temperament, or God.

01:00:23.000 --> 01:00:25.000
November 3.

01:00:25.000 --> 01:00:26.000
>> As can be seen, it was not

01:00:26.000 --> 01:00:28.000
just Mrs. Wright who acted

01:00:28.000 --> 01:00:29.000
imperiously.

01:00:29.000 --> 01:00:31.000
With Mr. Wright, the

01:00:31.000 --> 01:00:32.000
precipitating factor could be

01:00:32.000 --> 01:00:34.000
what he viewed as disloyalty or,

01:00:34.000 --> 01:00:36.000
more often, an issue of money,

01:00:36.000 --> 01:00:38.000
as the last example shows.

01:00:38.000 --> 01:00:39.000
One of the recurring themes of

01:00:39.000 --> 01:00:41.000
the diary, as well as stories

01:00:41.000 --> 01:00:43.000
many of you may know from former

01:00:43.000 --> 01:00:44.000
apprentices, Spring Green

01:00:44.000 --> 01:00:46.000
merchants, building suppliers,

01:00:46.000 --> 01:00:48.000
contractors, clients, involved

01:00:48.000 --> 01:00:50.000
Mr. Wright's debts, refusal to

01:00:50.000 --> 01:00:52.000
pay bills, an expectations of

01:00:52.000 --> 01:00:54.000
what should be paid to him as a

01:00:54.000 --> 01:00:56.000
great architect.

01:00:56.000 --> 01:00:59.000
[LAUGHTER]

01:00:59.000 --> 01:01:01.000
>> Financial ethics here are

01:01:01.000 --> 01:01:02.000
dormant, if at all alive.

01:01:02.000 --> 01:01:04.000
Eleanor was once asked to pass a

01:01:04.000 --> 01:01:05.000
bad check for lumber, and after

01:01:05.000 --> 01:01:07.000
months of hiding in the desert

01:01:07.000 --> 01:01:08.000
every time collectors were

01:01:08.000 --> 01:01:10.000
eminent, the bill was finally

01:01:10.000 --> 01:01:11.000
paid.

01:01:11.000 --> 01:01:13.000
November 3.

01:01:13.000 --> 01:01:14.000
Mr. Wright asked David to lend

01:01:14.000 --> 01:01:16.000
him money so that he could

01:01:16.000 --> 01:01:17.000
$1,000 for the last installments

01:01:17.000 --> 01:01:19.000
on the car.

01:01:19.000 --> 01:01:21.000
David explained that he didn't

01:01:21.000 --> 01:01:23.000
get money from his parents but

01:01:23.000 --> 01:01:24.000
worked for everything he paid

01:01:24.000 --> 01:01:25.000
into this.

01:01:25.000 --> 01:01:27.000
Mr. Wright reminded him of the

01:01:27.000 --> 01:01:29.000
favor he was doing in regards to

01:01:29.000 --> 01:01:31.000
me, and David is signing a note

01:01:31.000 --> 01:01:32.000
for $450, the rest of his

01:01:32.000 --> 01:01:35.000
tuition fee due in January.

01:01:35.000 --> 01:01:37.000
The same old struggle about

01:01:37.000 --> 01:01:39.000
whether the world owes Wright a

01:01:39.000 --> 01:01:40.000
living.

01:01:40.000 --> 01:01:41.000
He knows it does.

01:01:41.000 --> 01:01:43.000
But are the apprentices the

01:01:43.000 --> 01:01:44.000
world?

01:01:44.000 --> 01:01:45.000
They certainly give as much or

01:01:45.000 --> 01:01:47.000
more than they take.

01:01:47.000 --> 01:01:49.000
November 23.

01:01:49.000 --> 01:01:51.000
Everyone's labor here is cheap,

01:01:51.000 --> 01:01:53.000
but that of the king and queen.

01:01:53.000 --> 01:01:55.000
Mrs. Williams, the housekeeper,

01:01:55.000 --> 01:01:57.000
is paid 25 cents an hour.

01:01:57.000 --> 01:01:59.000
The seamstress working 9 to 10

01:01:59.000 --> 01:02:02.000
hours a day was paid $6 a day.

01:02:02.000 --> 01:02:04.000
She even worked Sunday.

01:02:04.000 --> 01:02:06.000
Hers was the sort of

01:02:06.000 --> 01:02:08.000
professional skill that should

01:02:08.000 --> 01:02:10.000
have received from $75 to $100

01:02:10.000 --> 01:02:12.000
for a 5-day week.

01:02:12.000 --> 01:02:14.000
The same tactics they use on

01:02:14.000 --> 01:02:15.000
chicken farmers and small

01:02:15.000 --> 01:02:17.000
storekeepers here.

01:02:17.000 --> 01:02:18.000
Credit and credit with no cash

01:02:18.000 --> 01:02:20.000
to back it up but wild hopes

01:02:20.000 --> 01:02:22.000
that they may beg or borrow some

01:02:22.000 --> 01:02:25.000
and very few debts paid.

01:02:25.000 --> 01:02:27.000
The world owes me a living,

01:02:27.000 --> 01:02:29.000
hey-ho.

01:02:29.000 --> 01:02:33.000
December 8.

01:02:33.000 --> 01:02:35.000
I have a sneaking suspicion that

01:02:35.000 --> 01:02:36.000
an army of Wright creditors

01:02:36.000 --> 01:02:37.000
could write an amazing subrosa

01:02:37.000 --> 01:02:39.000
biography.

01:02:39.000 --> 01:02:40.000
[LAUGHTER]

01:02:40.000 --> 01:02:41.000
November 24.

01:02:41.000 --> 01:02:42.000
As debts mount and credit is

01:02:42.000 --> 01:02:43.000
harder to get, it seems that the

01:02:43.000 --> 01:02:45.000
farming going on at Taliesin

01:02:45.000 --> 01:02:47.000
would help with its survival.

01:02:47.000 --> 01:02:49.000
While the Fellowship may have

01:02:49.000 --> 01:02:51.000
strived for self-sufficiency,

01:02:51.000 --> 01:02:53.000
inefficiency, inexperience, or

01:02:53.000 --> 01:02:55.000
poor management undermined a lot

01:02:55.000 --> 01:02:57.000
of hard work which was

01:02:57.000 --> 01:02:58.000
especially important during the

01:02:58.000 --> 01:03:00.000
shortages and rationing during

01:03:00.000 --> 01:03:02.000
World War II.

01:03:02.000 --> 01:03:03.000
>> Five rows of lettuce plowed

01:03:03.000 --> 01:03:05.000
under.

01:03:05.000 --> 01:03:06.000
Ditto two rows of peas.

01:03:06.000 --> 01:03:07.000
Ditto three of chard.

01:03:07.000 --> 01:03:09.000
A hundred sixty quarts of peas

01:03:09.000 --> 01:03:11.000
and beans spoiled.

01:03:11.000 --> 01:03:13.000
One hundred fifty pounds of pig

01:03:13.000 --> 01:03:14.000
inadvertently spoiled in the

01:03:14.000 --> 01:03:15.000
sun.

01:03:15.000 --> 01:03:17.000
Vegetables picked, forgotten,

01:03:17.000 --> 01:03:19.000
and thrown to the pigs or

01:03:19.000 --> 01:03:20.000
chickens.

01:03:20.000 --> 01:03:21.000
Seventy eggs going into three

01:03:21.000 --> 01:03:24.000
loaves of babba, which is then

01:03:24.000 --> 01:03:25.000
rocked in a pillow so it won't

01:03:25.000 --> 01:03:27.000
settle.

01:03:27.000 --> 01:03:28.000
Plows, rakes, hoes, wire,

01:03:28.000 --> 01:03:31.000
rusting in weather of all sorts

01:03:31.000 --> 01:03:33.000
and forgotten.

01:03:33.000 --> 01:03:35.000
Berries neglected on the bushes.

01:03:35.000 --> 01:03:37.000
Man power used to dress up a

01:03:37.000 --> 01:03:39.000
house instead of to repair it.

01:03:39.000 --> 01:03:41.000
All to show off for guests.

01:03:41.000 --> 01:03:43.000
A tempting false front

01:03:43.000 --> 01:03:44.000
and shabby rear.

01:03:44.000 --> 01:03:47.000
August 6.

01:03:47.000 --> 01:03:49.000
>> Imagine a young couple

01:03:49.000 --> 01:03:50.000
arriving from New York City with

01:03:50.000 --> 01:03:52.000
all their youthful idealism and

01:03:52.000 --> 01:03:54.000
dreams, expecting a supportive,

01:03:54.000 --> 01:03:56.000
creative, intellectually

01:03:56.000 --> 01:03:58.000
stimulating environment, full of

01:03:58.000 --> 01:04:00.000
hard work but also learning.

01:04:00.000 --> 01:04:02.000
Instead, they find that the

01:04:02.000 --> 01:04:04.000
community is not very open to

01:04:04.000 --> 01:04:05.000
new-comers who are then judged

01:04:05.000 --> 01:04:07.000
quickly as suitable or not.

01:04:07.000 --> 01:04:09.000
There's a strong in group with

01:04:09.000 --> 01:04:11.000
power residing with Mrs. Wright

01:04:11.000 --> 01:04:12.000
and her favorites and exclusion

01:04:12.000 --> 01:04:14.000
of those deemed unworthy.

01:04:14.000 --> 01:04:16.000
Apparently, from the diary and

01:04:16.000 --> 01:04:18.000
from other apprentices' stories

01:04:18.000 --> 01:04:20.000
and memoirs, it was wrong to be

01:04:20.000 --> 01:04:22.000
too knowledgeable, too funny,

01:04:22.000 --> 01:04:25.000
too intellectual, too much a

01:04:25.000 --> 01:04:27.000
lefty, and to be a Jew at all.

01:04:27.000 --> 01:04:29.000
While Mr. Wright and many others

01:04:29.000 --> 01:04:31.000
did not agree with all these

01:04:31.000 --> 01:04:32.000
approaches, it was not easy

01:04:32.000 --> 01:04:37.000
to change the dynamics.

01:04:37.000 --> 01:04:38.000
>> Fortunately, Mr. Wright

01:04:38.000 --> 01:04:40.000
protects most people from his

01:04:40.000 --> 01:04:42.000
wife's tongue, seeing in them

01:04:42.000 --> 01:04:44.000
human faults, frequently his

01:04:44.000 --> 01:04:45.000
own.

01:04:45.000 --> 01:04:47.000
But no one dares speak up for

01:04:47.000 --> 01:04:49.000
anyone officially disliked.

01:04:49.000 --> 01:04:50.000
He must hide his affection or

01:04:50.000 --> 01:04:52.000
loyalty like a light under a

01:04:52.000 --> 01:04:54.000
bushel.

01:04:54.000 --> 01:04:56.000
November 26.

01:04:56.000 --> 01:04:57.000
>> It seems our parents were not

01:04:57.000 --> 01:04:59.000
expecting to encounter

01:04:59.000 --> 01:05:00.000
antisemitism at Taliesin.

01:05:00.000 --> 01:05:02.000
It came from some apprentices,

01:05:02.000 --> 01:05:04.000
such as the one who told

01:05:04.000 --> 01:05:06.000
another, referring to David,

01:05:06.000 --> 01:05:07.000
that he'd like to do something

01:05:07.000 --> 01:05:09.000
to that dirty kike who's always

01:05:09.000 --> 01:05:11.000
monopolizing the conversation.

01:05:11.000 --> 01:05:13.000
The situation was even more

01:05:13.000 --> 01:05:15.000
difficult because Mrs. Wright,

01:05:15.000 --> 01:05:17.000
obviously a powerful force in

01:05:17.000 --> 01:05:18.000
the Fellowship, held her own

01:05:18.000 --> 01:05:20.000
strong negative views on Jews

01:05:20.000 --> 01:05:21.000
and intellectuals.

01:05:21.000 --> 01:05:23.000
>> When I went down to

01:05:23.000 --> 01:05:25.000
Mrs. Wright to ask her about her

01:05:25.000 --> 01:05:27.000
meal, she sidetracked by an

01:05:27.000 --> 01:05:28.000
article by Ben Hecht in Reader's

01:05:28.000 --> 01:05:30.000
Digest to the Jewish problem.

01:05:30.000 --> 01:05:32.000
Why don't the Jews get a great

01:05:32.000 --> 01:05:34.000
military leader who is also an

01:05:34.000 --> 01:05:36.000
idealist and fight for a land of

01:05:36.000 --> 01:05:38.000
their own?

01:05:38.000 --> 01:05:39.000
They could concur any country

01:05:39.000 --> 01:05:41.000
they wanted to.

01:05:41.000 --> 01:05:42.000
When I suggested Herzl and

01:05:42.000 --> 01:05:44.000
Zionism and Arab-Jewish unions

01:05:44.000 --> 01:05:46.000
and opposition by feudal lords

01:05:46.000 --> 01:05:48.000
instigated by England, she

01:05:48.000 --> 01:05:49.000
ranted, "There you go again,

01:05:49.000 --> 01:05:51.000
like all Jews,

01:05:51.000 --> 01:05:52.000
intellectualizing.

01:05:52.000 --> 01:05:54.000
You have no creative urge and no

01:05:54.000 --> 01:05:55.000
initiative.

01:05:55.000 --> 01:05:57.000
Your only initiative takes the

01:05:57.000 --> 01:05:59.000
bad form of aggressiveness.

01:05:59.000 --> 01:06:01.000
I told a Jewish friend of mine

01:06:01.000 --> 01:06:02.000
that the only reason she's

01:06:02.000 --> 01:06:04.000
creative is that she's part

01:06:04.000 --> 01:06:06.000
gentile."

01:06:06.000 --> 01:06:08.000
February 3.

01:06:08.000 --> 01:06:09.000
>> The diary ends abruptly

01:06:09.000 --> 01:06:11.000
with no explanation.

01:06:11.000 --> 01:06:12.000
In the weeks leading up to the

01:06:12.000 --> 01:06:13.000
last entry, there are brief

01:06:13.000 --> 01:06:15.000
comments about plans to return

01:06:15.000 --> 01:06:17.000
to New York, but the departure

01:06:17.000 --> 01:06:19.000
seems very sudden,

01:06:19.000 --> 01:06:20.000
with no discussion of packing

01:06:20.000 --> 01:06:22.000
or leave taking.

01:06:22.000 --> 01:06:23.000
We guess that tirades, like the

01:06:23.000 --> 01:06:24.000
above for Mrs. Wright who held

01:06:24.000 --> 01:06:25.000
so much power along with the

01:06:25.000 --> 01:06:27.000
behavior of her clique of

01:06:27.000 --> 01:06:29.000
followers, made Priscilla's time

01:06:29.000 --> 01:06:31.000
there unpleasant enough to

01:06:31.000 --> 01:06:34.000
leave.

01:06:34.000 --> 01:06:37.000
>> As we discussed in an essay

01:06:37.000 --> 01:06:39.000
in the book, not only did our

01:06:39.000 --> 01:06:41.000
parents survive the experience,

01:06:41.000 --> 01:06:42.000
they also used what they learned

01:06:42.000 --> 01:06:44.000
to create their dream of a

01:06:44.000 --> 01:06:46.000
cooperative community: Usonia

01:06:46.000 --> 01:06:48.000
Homes, which, by the way, this

01:06:48.000 --> 01:06:50.000
past September 5th was listed

01:06:50.000 --> 01:06:52.000
with the National Register

01:06:52.000 --> 01:06:55.000
of Historic Places.

01:06:55.000 --> 01:06:56.000
While the architectural

01:06:56.000 --> 01:06:58.000
instruction at Taliesin was not

01:06:58.000 --> 01:07:00.000
often direct, the emerging

01:07:00.000 --> 01:07:02.000
process seems to have worked for

01:07:02.000 --> 01:07:04.000
those like David and many other

01:07:04.000 --> 01:07:06.000
apprentices who pushed hard to

01:07:06.000 --> 01:07:08.000
learn.

01:07:08.000 --> 01:07:09.000
At David's request, Mr. Wright

01:07:09.000 --> 01:07:11.000
was actively involved in the

01:07:11.000 --> 01:07:13.000
Usonia project for several

01:07:13.000 --> 01:07:14.000
years, including drawing up the

01:07:14.000 --> 01:07:16.000
original site plan and designing

01:07:16.000 --> 01:07:18.000
several houses, for two of which

01:07:18.000 --> 01:07:20.000
David was the builder.

01:07:20.000 --> 01:07:22.000
David designed 13 of the homes

01:07:22.000 --> 01:07:24.000
built in Usonia and many others

01:07:24.000 --> 01:07:26.000
in New York and nearby states.

01:07:26.000 --> 01:07:28.000
As we were growing up, we

01:07:28.000 --> 01:07:30.000
watched enumerable groups,

01:07:30.000 --> 01:07:32.000
architectural classes, and

01:07:32.000 --> 01:07:34.000
individuals tour through Usonia,

01:07:34.000 --> 01:07:36.000
often walking around our house

01:07:36.000 --> 01:07:37.000
and staring in the windows.

01:07:37.000 --> 01:07:40.000
In 1952, David supervised the

01:07:40.000 --> 01:07:43.000
construction on the site where

01:07:43.000 --> 01:07:45.000
the Guggenheim now stands of the

01:07:45.000 --> 01:07:47.000
pavilion and model home designed

01:07:47.000 --> 01:07:49.000
by Mr. Wright for an exhibit

01:07:49.000 --> 01:07:50.000
celebrating 60 years of his

01:07:50.000 --> 01:07:52.000
work.

01:07:52.000 --> 01:07:54.000
Currently, an exhibit at the

01:07:54.000 --> 01:07:55.000
Guggenheim is celebrating the

01:07:55.000 --> 01:07:57.000
60th anniversary of that 1952

01:07:57.000 --> 01:07:59.000
exhibit.

01:07:59.000 --> 01:08:01.000
Priscilla returned to high

01:08:01.000 --> 01:08:03.000
school teaching but also wrote.

01:08:03.000 --> 01:08:04.000
One of her essays is in the

01:08:04.000 --> 01:08:05.000
book.

01:08:05.000 --> 01:08:06.000
And gave lectures on Wright's

01:08:06.000 --> 01:08:08.000
organic architecture and on

01:08:08.000 --> 01:08:10.000
Taliesin.

01:08:10.000 --> 01:08:13.000
Our presentation has given you

01:08:13.000 --> 01:08:15.000
only brief glimpses into the

01:08:15.000 --> 01:08:17.000
diary, but we hope you will be

01:08:17.000 --> 01:08:19.000
intrigued by this personal

01:08:19.000 --> 01:08:21.000
account of a young, idealistic

01:08:21.000 --> 01:08:23.000
couple's year at Taliesin and

01:08:23.000 --> 01:08:24.000
the insights it provides

01:08:24.000 --> 01:08:26.000
into Frank Lloyd Wright

01:08:26.000 --> 01:08:28.000
and his Fellowship.

01:08:28.000 --> 01:08:32.000
[APPLAUSE]