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you have a few moments free. Take your cassette to the woods, or to the
airport, whatever you're doing, and when you have some moments, sit and
add. I will appreciate that.
I will commit myself to making a visual transcription of these documents.
In many ways, the printed page is the most flexible of media. I am some-
what uncomfortable, still, speaking into the tape recorder, even talking to
you, but I expect that in time this is something that will also be taken care
of.
Our greetings to you, and I look forward to hearing from you both.
Paul
Dear Paul.
That was really magic, when you transformed me from my deck on
Rattlesnake Hill in Pescadero to your home in Maine, allowing me to hear
your children, Mazie, you, the clatter, the singing, the good morning—
almost tasting the good food. And I thought it was a most ingenious idea
to invite me, or to invite anybody, to become a storyteller, because you tell
the story in such a wonderful way that it is absolutely irresistible to con-
tinue the yarn which you started to spin.
Now, you have invited me to tell some of the stories which I experienced
in my youth, and you also have asked me to give the background of these
stories. And I think I will suffer a similar fate as Thucydides who wanted to
write about the Peloponnesian War. But in order to give the background
of the Peloponnesian War, he practically spent the rest of his life writing
about the background, and did not have very much time to talk about the
Peloponnesian War. Now I will try to somewhat balance this act, and I
will give you a little bit of the background, and then comes the story of
Wiegleb's Introduction to Natural Magic . There are twenty volumes, printed
at the end of the 18th century, between 1780 and 1795.
So first, let me give you the background of the stories I am going to tell
you, dear Paul.
The background has probably three major chapters. And the first chapter
is perhaps to establish my relationship with my cousin, Martin, with whom
I grew up practically as a brother, with a brother. We were both born in the
year 1911. He was a little bit earlier than I was, and the relation between
both of us is via my mother and his father. They were siblings. My mother
was born Lilith Lang, and his father was Erwin Lang. Erwin married
an extraordinary, elfin, beautiful, ethereal dancer by the name of Grete
Wiesenthal, who conquered the world with her charms and her absolutely
incredibly beautiful light and unearthly dancing. She broke away from the
ballet, as many of the great dancers at the turn of this century, like Loie
Fuller, Isadora Duncan, Ruth St. Denis, Gertrude Barrison and many, many
others.
My mother happened to be la costumière for her sister-in-law. They were
all very close to each other. She not only designed some of the at that time
outrageous but extremely lovely costumes, but she was also there in the
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