Manuscript/Mixed Material Image 3 of [How Salton Sea Was Caught]
“It was one early September in—- I think about 1909—- when we had journeyed over to Malheur Lake, in [Eastern Oregon?], to shoot a couple of ducks, that Uncle Steve told me about Salton Sea.
“In camp after supper one evening I had mentioned to Uncle Steve that I once shot a duck or two down in the Mojave Desert, and that it was very hot shooting indeed, and that I had shot them on a very unusual Lake which some people called the ‘salton Sea’....
“‘Well, I - gosh, now ain't that a cuincident,’ Uncle Steve exclaimed. ‘I - Gawd, so that's what they call it now, 'th' Salton Sea’. Jest think ny own nephew's shot ducks on that lake that I made - yeah, well, that is Bob White an' me made it, or mebbe to be plumb accurate an' truthful I shouldn't ought say we made it, but by gosh we staked th’ damn thing down, there ain't no cussed doubt about that!
“‘It was that time that Bob and me and ‘Mam’, that was Bob's wife, was migratin' from Arizona, that time it got so danged hot and dry all them forests and even th’ doggone buzzards petrified...
“‘Yeah, we was gettin' out of that district and headin' up towards Idaho but when we got out in the middle of that doggone Mojave Desert one of our mules was bit by a gila monster and we had to camp till he got able to travel again...an' that was quite a while for them damned gila monster bites, even on mules, is painful as hell an' it takes them a long time to heal up an' git normal again.
“‘so, we picked out a grove of Joshua trees an' camped in it...of course we had a pretty good supply of water with us in our
About this Item
- [How Salton Sea Was Caught]
- Contributor Names
- Bowman, Earl (Author)
- Reece, Harry (Interviewee)
- Created / Published
- New York City, New York
- Subject Headings
- - Anecdotes
- - Folklore
- - Pioneers
- - Narratives
- - United States -- New York -- New York City
- Call Number/Physical Location
- series: Folklore Project, Life Histories, 1936-39
- MSS55715: BOX A720
- Source Collection
- U.S. Work Projects Administration, Federal Writers' Project
- Manuscript Division
- Online Format
- online text
The Library of Congress is not aware of any copyright in the documents in this collection. As far as is known, the documents were written by U.S. Government employees. Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States, although they may be under copyright in some foreign countries. The persons interviewed or whose words were transcribed were generally not employees of the U.S. Government. Privacy and publicity rights may apply.
Suggested credit line: Library of Congress, Manuscript Division, WPA Federal Writers' Project Collection.
The introduction was written by Ann Banks © 1980 and produced by Joanne B. Freeman. The sound recordings were produced by Joan Murphy Stack and engineered by Rob Attinello. The actors who read the manuscripts were Clement Cottingham, Billie Durand, George A. Jackson, Jr., Margaret Root, Edward S. Stout, and Edna Jeweline White.
Privacy and Publication
Issues pertaining to privacy and publicity may arise when a researcher contemplates the use of letters, diary entries, or reportage found in library collections. Because two or more people are often involved (e.g., photographer and subject) and because of the ease with which they can be reused, photographs and motion pictures represent the types of documents in which issues of privacy and publicity emerge with some frequency.
Privacy and publicity rights are, of course, distinct from copyright. For example, an advertiser may have the photographer's permission (as copyright owner) to use a portrait. But in order to avoid invading privacy, the advertiser may also need the sitter's permission to use the photograph. In fact, publishers sometimes ask photographers to submit a copy of a "release form" in order to establish that the subject of a photograph gave his or her consent.
Although the risks for use in a periodical's "editorial" pages may be less than for use in advertising or for other commercial purposes, they can still be high if the person depicted is held up to ridicule or presented in a libelous manner.
While it is true that famous or public figures who seek recognition have thereby surrendered some privacy, they may have the right to control the commercial use of their image (likeness, voice, signature, etc.). This principle recognizes that a celebrity's image can be an asset in trade.
For more on these and related topics, consult the following books:
Chernoff, George and Hershel Sarbin. Photography and the Law, NY: AMPHOTO, 1971. Library of Congress call number: KF2042.P45C44 1971.
Schultz, John and Barbara Schultz. Picture Research: A Practical Guide, NY: Van Nostrand, 1991. Library of Congress call number: TR147.S38 1991.
Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate.
Chicago citation style:
Bowman, Earl, and Harry Reece. How Salton Sea Was Caught. New York City, New York, 1939. Manuscript/Mixed Material. https://www.loc.gov/item/wpalh001341/.
APA citation style:
Bowman, E. & Reece, H. (1939) How Salton Sea Was Caught. New York City, New York. [Manuscript/Mixed Material] Retrieved from the Library of Congress, https://www.loc.gov/item/wpalh001341/.
MLA citation style:
Bowman, Earl, and Harry Reece. How Salton Sea Was Caught. New York City, New York, 1939. Manuscript/Mixed Material. Retrieved from the Library of Congress, <www.loc.gov/item/wpalh001341/>.