Manuscript/Mixed Material Image 2 of [Max Richter]

About this Item

2
While I lived near {Begin deleted text}Fredericksuurg{End deleted text} Fredericksburg the farmers worked their land with oxen, there were no roads, but just trails and we had to cut the brush from them to get thro'. This was mostly a German settlement. But we kept up our way of getting together which we had in Germany. We had our song-fests and our meetings and schools entertainments. A Mr Kleberg of San Antonio was the first man to bring a piano to Texas from Germany. He lived on a ranch to the north of San Antonio. We celebrated the fourth of July with {Begin deleted text}[?]{End deleted text} the American people and trained our children to know about the American holidays, just as we did in Germany for the German celebrations, only we were not as free in Germany as in America. Truly we found this new country of America to be the “land of the free.”

“After I had lived in Texas awhile I married Miss Minna Brase, in Brenham, Prairie , Washington County. She was born in 1869, and we had nine children, five boys and three girls. We moved to the Riesel settlement in 1922. While I lived near Frederiscksburg we carried our produce to Houston and San Antonio, Houston being close to the gulf we took our produce {Begin deleted text}ther{End deleted text} there to be shipped to the {Begin deleted text}forign{End deleted text} foreign countries. The neighbors went together and made us wagon trains to / make these trips in order to help each other if there were any trouble on the way. The country was still infested with robbers and many Mexicans who did not hesitiate to rob these trains. We would be from six weeks to two months on a trip. We had no horses, just oxen {Begin deleted text}then{End deleted text} and they were slow to travel.

“Fredericksburg was a wonderful place for wild game, there were deer and wild turkey plentiful , as well as wild hogs. We used dogs to hunt

About this Item

Title
[Max Richter]
Contributor Names
Cowan, Effie (Interviewer)
Richter, Max (Interviewee)
Created / Published
Texas
Subject Headings
-  Occupations
-  Folklore
-  Ethnic/National Groups
-  Emigration and Immigration
-  Narratives
-  United States -- Texas -- McLennan County -- Riesel
Genre
Narratives
Call Number/Physical Location
series: Folklore Project, Life Histories, 1936-39
MSS55715: BOX A733
Source Collection
U.S. Work Projects Administration, Federal Writers' Project
Repository
Manuscript Division
Online Format
image
online text
pdf

Rights & Access

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.

Cite This Item

Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate.

Chicago citation style:

Cowan, Effie, and Max Richter. Max Richter. Texas. Manuscript/Mixed Material. https://www.loc.gov/item/wpalh002256/.

APA citation style:

Cowan, E. & Richter, M. Max Richter. Texas. [Manuscript/Mixed Material] Retrieved from the Library of Congress, https://www.loc.gov/item/wpalh002256/.

MLA citation style:

Cowan, Effie, and Max Richter. Max Richter. Texas. Manuscript/Mixed Material. Retrieved from the Library of Congress, <www.loc.gov/item/wpalh002256/>.