Books of the Southwest presents THE HERMES IN BREAKFAST AT TIFFANY’S happening in art and reality (and a false reality presented as relatable, sellable biography with no actual truth) to break open that wrong in self-realization for a monumental, global cause. The world-altering artists are in full brilliance and action. As literature shows, they are always necessary especially when freedom and spiritual abundance is threatened and not communicated in the eternal-breaking-through consciousness and Being way, as Homer showed in his epic song, manipulative and cheap rumor (publicists feeding tabloids with a false "conversation" with the public who naively believe they are listening to a 'close, reliable friend'). This comes from an awareness in 750 B.C. and back further. The eternal artistic voice is always internally realized in immediate truth, then just as immediate in the "here and now." Penelope, as the state of internal Beingness, the eternal of her in her (body) "chamber," is the one who speaks the difference of Beingness, which is the opposite of Narcissistic Personality Disorder that defines a very limited, blind culture and existence. It is only a "repetition" of what is heard and not true being fully alive. This escalation of untruths began coming to the challenge of consciousness with a pre-meditated concocted lie about John Mayer in October 2010 brewing from 2008 from a young plagiarist bought entry into the "music" industry with hired marketers and publicists from a capitalist's greed, but with no powers of creation or original content, only repeating what she saw around her and calling it her own. This is the test of the value of art for freeing a culture.

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'Upon This Rock'

  After Willa Cather published The Professor’s House in 1925 which contains her “Tom Outland’s Story” about the cultural grounding treasure (and not its surface monetary value) to be known of the realization of the feet upon the immense cliff rock at Mesa Verde—its ancientness, strength, and formidability undaunted by human thought, and wrote a letter back to F. Scott Fitzgerald about writing the ineffable cause internally of the feminine that had to be expressed, she knew she would take this to its realization, the embodiment—in herself and in creation to give solidity to Presence of what was not yet understood or even thought about the truer possibilities of American culture rooted in and from that feminine. In an interview...

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Up from 'The Crosses' of Las Cruces on the Jornada del Muerto there is a 400 year old Juniper Tree

  Conservatives would like for us to learn the Hebrew Bible and abide by it as the rules for our lives. I grew up with it. My name is in Jacob's prophecy, "Until Shiloh comes.” I am female. I knew as a child they didn’t like females, and later I saw that the curse in Genesis occurs at a reference to my name, of course in a sacred grove. I dearly love the forest where I live, the Lincoln National Forest. The opening of Willa Cather's novel Death Comes for the Archbishop follows the path up with references to the Jornada del Muerto of a red rock terrain and which is near my home in New Mexico. It is the description...

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"In these days when the 'situation' is made to count for so much in writing.”

  Many years ago scholar Tom Quirk showed how F. Scott Fitzgerald while writing The Great Gatsby (1925) was influenced by/and or plagiarized Willa Cather's writing. Fitzgerald himself had to admit it at the success of his novel. In particular, that he had been so deeply affected by what she was tapping into I believe that he also wanted to know and present that feminine ardor of presence Willa was able to emanate off the page. Quirk wrote, "Willa Cather had written Fitzgerald of her admiration of Gatsby in the spring of 1925; the next fall she would begin to write what she ultimately considered her finest novel, Death Comes for the Archbishop (1927)." On 28 April 1925--now 99 1/2...

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