Tag Archives: Letitia Fairbanks

From "A Modern Musketeer": Douglas Fairbanks does handstands on the edge of the Grand Canyon while Marjorie Daw looks on agahst

Swashathon! A Modern Musketeer (1917)

This post is part of the Swashathon! A Blogathon of Swashbuckling Adventure, hosted by Fritzi at Movies, Silently. Read the other adventure-filled posts in this event HERE.

In their 1953 bio, Douglas Fairbanks: The Fourth Musketeer, Ralph Hancock and Letitia Fairbanks state that her uncle’s fascination with all things swashbuckling went way back:

Alexandre Dumas’ The Three Musketeers had been in the back of his mind ever since he could remember. He once admitted that his ideal had always been D’Artagnan, the fourth musketeer, and that character had not only influenced every picture he had made but Doug had consciously or subconsciously lived the role all his life.

~ Ralph Hancock & Letitia Fairbanks, Douglas Fairbanks: the Fourth Musketeer, 1953, US Edition, page 175

Intertitle from "A Modern Musketeer" - D'Artagnan, that famous swash-buckling gallant!

Intertitle from “A Modern Musketeer” – D’Artagnan, that famous swash-buckling gallant!

And so the release in 1917 of A Modern Musketeer was Douglas’ first attempt to portray his boyhood role-model, and adapt it to then-modern times, too. Doug addresses this in one of the first intertitles in the movie:

Using the then-familiar technique of interpolating several plot lines into one movie, A Modern Musketeer, begins with a costume scene throw-back to the times of D’Artagnan, in France of the 1600s. By inserting this scene into a modern story, Douglas could test audiences reception to the idea of a larger, much more expensive, costume drama, an idea he would bring to fruition just four years later in the ground-breaking United Artists’ production The Three Musketeers. By inserting this prelude of chivalrous D’Artagnan and his swashbuckling swordplay at the behest of a damsel in distress, it also provided Doug with an excuse to show off his latest fencing skills, just one of the many sports Douglas excelled at.

A Modern Musketeer was the sixth film that Douglas produced under his family-run company, Douglas Fairbanks Pictures Corporation.

The Fairbanks brothers were a smooth-working team. Douglas acting and supervising the writing, directing and shooting of his films, Robert [co-author Letitia Fairbanks’ father] handling all the intricate construction problems, and Jack managing the business end made an efficient trio.

~ Ralph Hancock & Letitia Fairbanks, Douglas Fairbanks: the Fourth Musketeer, 1953, US Edition, page 152.

A Modern Musketeer also contained what was becoming a theme in Douglas’ productions: larger-than-life sets, in this case: the Grand Canyon. It may not appear to be a big deal to us now, because we’ve all seen the Grand Canyon a gazillion times in photos and movies, if we haven’t had the thrill of seeing the Canyon for ourselves., But in 1917 not many people knew what that Grand Canyon looked like. A Modern Musketeer offered expansive, exotic vistas to match Fairbanks’ boundless energy.

When reviewing cinema history, it’s obvious that Douglas was at the forefront of development of what was then cutting-edge movie techniques. It was the start of filming on-location and it was A Big Thing. Audiences were enthralled at the scenery that was carefully framed by cinematographer Hugh McClung. They were excited to see the Navajos, their dress and dances – it was all part of the exciting West that many had heard about, and the movies brought it all to them, wherever they lived in America!  No other generation prior had had these types of breath-taking, vicarious experiences that motion pictures, in the skillful hands of a Fairbanks’ production, offered.

Because Fairbanks’ movies were amongst the first movies ever made, they lead the way for what is now a 100+ year old medium of artistic and visual-literature expression, so that the stereotypes of that day have unfortunately now indelibly stuck in our minds. The portrayal of native peoples in A Modern Musketeer largely casts them as either the villain — Navajo Chief Chin-de-dah – or extras.

From "A Modern Musketeer": Chin-De-Dah meets Ned Thacker at the edge of the Grand Canyon

From “A Modern Musketeer”: Chin-De-Dah meets Ned Thacker at the edge of the Grand Canyon

But there are villainous white men, too, and the Navajo as a people are respectfully shown in their native dress, and their dances and culture were preserved on film, at a time when they were shunned in all other parts of American “society.” In the end evaluation, none of us can avoid being raised within the prejudices of our time, and looking back 100 years later, films show the cracks in society that still plague us till today.

From "A Modern Musketeer": Douglas Fairbanks with Navajo boy.  Douglas loved children and had great times with them on the set.

From “A Modern Musketeer”: Douglas Fairbanks with Navajo boy. Douglas loved children and had great times with them on the set.

I do have to say that the native boy who looks to be about 3 or 4 years old, that Douglas’ character dandles on his knee in the opening sequences of the YouTube clip (above) is having the time of his life! Look at him as Douglas sets him down, shakes his hand, and bids him goodbye – that kid is mugging for the camera and is a delight.

In all, A Modern Musketeer represents Fairbanks’ first attempt to blend his beloved childhood hero of D’Artagnan, and show the same principles of chivalry still have room for application in today’s society. And that’s something we all might consider, even in the 21st century: showing a little chivalry and kindness to all in our world, while helping the less fortunate. Just as applicable now, as then.

Closing with an intertitle:

From "A Modern Musketeer": What a high-fallutin' fellow!

From “A Modern Musketeer”: What a high-fallutin’ fellow!

 

The words: Princess April Morning-Glory

Page 58 – and to this day (Artists & Illustrators)

by Danny Garrett
Austin, Texas

At the end all is well. Princess April Morning- Glory grew up overnight and spread the doctrine of doing good deeds throughout the world. What better ending to a fairy tale than this? Continue reading

Dec 16, 2013 – Page 57: The next day when the Fairy Queen awakened her

By Letitia Fairbanks, Hollywood, California

Page 57: The next day when the Fairy Queen awakened her

Page 57: The next day when the Fairy Queen awakened her, a miracle had happened!

December 2, 2013 – Page 55: All that day there was a great rejoicing

By Letitia Fairbanks, Hollywood, California

Page 55: All that day there was a great rejoicing

Page 55: All that day there was a great rejoicing in the Crystal Castle because of the return of their dear Princess.

 

Nov 25, 2013 – Page 54: Just as the Wicked Fairy was about to fling a large net

By Letitia Fairbanks, Hollywood, California

Page 54: Just as the Wicked Fairy was about to fling a large net

Page 54: Just as the Wicked Fairy was about to fling a large net about them, the humming-bird reached the crest of the rainbow…

Nov 18, 2013 – Page 53: holding fast to her shoulder

By Letitia Fairbanks, Hollywood, California

Page 53: holding fast to her shoulder

Page 53: holding fast to her shoulder. The humming-bird flew out the window and high up into the sky.

Nov 11, 2013 – Page 52: The Fairy King realized there was no time to be lost

By Letitia Fairbanks, Hollywood, California

Page 52: The Fairy King realized there was no time to be lost

Page 52: The Fairy King realized there was no time to be lost and as the humming-bird could fly faster than anyone else in Fairyland, he gave him his magic want do carry to Princess April Morning-Glory.

Nov 4, 2013 – Page 51: Now Princess April really did begin to cry

By Letitia Fairbanks, Hollywood, California

Page 51: Now Princess April really did begin to cry

Page 51: Now Princess April really did begin to cry. And the blue butterfly tried to comfort her…

Oct 28, 2013 – Page 49: Plate VIII – Fairy Misery concocts a blue mist

By Letitia Fairbanks, Hollywood, California

Page 49: Full plate image - Fairy Misery and the blue mist

Page 49: Full plate image – Fairy Misery, her bunson burner set, and the blue mist that is about to envelope Princess April

Oct 21, 2013 – Page 48: If Princess April would serve her

By Letitia Fairbanks, Hollywood, California

Page 48: If Princess April would serve her

Page 48: If Princess April would serve her and do evil instead of good, these priceless gifts would be hers.  But Princess April would not even look at the gifts.

Oct 14, 2013 – Page 47: This made the wicked Fairy so angry

By Letitia Fairbanks, Hollywood, California

Page 47: This made the wicked Fairy so angry

Page 47: This made the wicked Fairy so angry that she cast Princess April into a dark dungeon.

Page 43 Plate VII – Prince Chivalry

by Kelley Smoot Garrett
Hollywood, California

Who was Letitia Fairbanks’ inspiration for the character of Prince Chivalry? A look at her uncle & cousin’s films provides some clues. Continue reading

The word: soldiers

Page 42 – from the wicked King’s belt

by Kelley Smoot Garrett
Hollywood, California

When I look at this page, I’m always reminded of Letitia’s love of a man in uniform!  Continue reading

Page 41 – gathered in celebration (Artists & Illustrators)

by Danny Garrett
Austin, Texas

We have a major illustration here that takes up a full half page. In it, Princess April stands upon the lip of a flagon filled with wine. Coverless, it stands next to an identical vessel, also filled to the brim with wine. As she stands on the lip, she pours “sand” into the nearest jug.

"By arranging the elements of the image thusly, Letitia deftly directs the eye around the illustration." ~ Danny Garrett, Restoration artist

“By arranging the elements of the image thusly, Letitia deftly directs the eye around the illustration.” ~ Danny Garrett, Restoration artist

The sand, generously given over by the Sandman, was intended for the guests in order to make them fall asleep. This is an interesting image – one well composed. In the center of the picture is an open window into the night; this element anchors the piece dead center. Eclipsing the opening are the two flagons, with April and the sack of sand. The solidness of these four images moves the eye away from the window and the center and brings the gaze in a southwesterly direction. To offset this, Letitia has positioned a coat of arms on the wall and below that, two small cups — with the lower one mostly out of frame. By arranging the elements of the image thusly, Letitia deftly directs the eye around the illustration.

The illuminations, five in number, are arrayed to the right and bottom of the half page of text. The first illuminations is that of the twin jugs, here rendered fully – though one

The next is an image of the wine itself, divorced from the flagons. It is a beautiful little glyph of a glass of wine with ornamental filagree flanking its sides

“The next is an image of the wine itself, divorced from the flagons. It is a beautiful little glyph of a glass of wine with ornamental filigree flanking its sides.”

appears larger than the other. The next is an image of the wine itself, divorced from the flagons. It is a beautiful little glyph of a glass of wine with ornamental filigree flanking its sides. Next we have the one illumination that appears on practically every page – the Princess coronet.. The last two are also familiar illuminations, a key and an image of the tower beneath a waving banner.

Words: jugs of wine

Page 41 – gathered in celebration

by Kelley Smoot Garrett
Hollywood, California

This page shows the innocence that precedes each era before the current one, when each generation sees itself more enured, more hardened, than the previous. Continue reading

The word: Kings

Page 40 – When Princess April returned (Artists & Illustrators)

by Danny Garrett
Austin, Texas

In terms of illumination, this is probably the richest visual page in the book. In layout, design and vibrancy of color, it is just remarkable. Continue reading

The word: Sandman

Page 40 – When Princess April returned

by Kelley Smoot Garrett
Hollywood, California

Our restoration artist Danny Garrett has covered this page so beautifully in his blog post, that it’s hard to know just what to cover.  Continue reading

Sept 2, 2013 – Page 40: When Princess April returned she found the Princess in tears

 

Page 40: When Princess April returned she found the Princess in tears

Page 40: When Princess April returned she found the Princess in tears, for the King had told her that King Thunderdum would arrive at sundown and on the morrow she would become his bride.

"While simple and small, I really love this image. The horse is staring straight at the viewer and his pitch-black eyes, while lacking a highlight, seem to stare straight at you." ~ Danny Garrett, restoration artist

Page 39 – To this Princess April Morning-Glory said nothing (Artists & Illustrators)

by Danny Garrett
Austin, Texas

Another lovely illustration tops the page. This time it is a shot of Princess April on the back of the beautiful bird as it soars toward the castle of Prince Chivalry. Continue reading

Page 39 – To this Princess April Morning-Glory said nothing

by Kelley Smoot Garrett
Hollywood, California

So what is a little fairy girl to do, when confronted with the massive, hulking, evilness as personified by a wicked King who keeps true loves apart? Why get busy doing a Good Deed, of course! Continue reading

Douglas Fairbanks and John Barrymore, date unkown, approx. 1933

Page 38 – Perhaps the Prince will rescue you

by Kelley Smoot Garrett
Hollywood, California

Again the Hollywood influences which surrounded Letitia begin to show through with her use of John Barrymore to depict the Lonely Princess’ wicked uncle, The King. Continue reading

Page 37: "King Thunderdum" The second is King Thunderdum and he gets the proper British regent version of a crown – the Imperial State Crown. Now, that's a crown! ' Thunderdum' also gets a powerful illumination, and the two together are more than impressive..." ~ Danny Garrett, Restoration artist

Page 37 – the song and so enchanted (Artists and Illustrators)

by Danny Garrett
Austin, Texas

This week’s page sees Princess April appears along with her coronet as does the blue butterfly with its iconic image. Continue reading

August 12, 2013 – Page 37: the song and so enchanted with Princess April

By Letitia Fairbanks, Hollywood, California

Page 37: the song and so enchanted with Princess April

Page 37: the song and so enchanted with Princess April and the blue butterfly that it was the first happy day she had known since being locked in the tower.

Page 36: Hearts and Flowers - "The two end hearts are red, with the middle one golden, with a equally golden halo. This illuminates the lonely Princess, who '...was as kind as she was beautiful.'" ~ Danny Garrett, restoration artist

Page 36 – At last they came to rest (Artists and Illustrators)

by Danny Garrett
Austin, Texas

A beautiful illustration commands half of the page. It is an image of a lonely princess in a high tower that our wayfarers and the mended bird have come upon. Continue reading

August 5, 2013 – Page 36: At last the came to rest

By Letitia Fairbanks, Hollywood, California

Page 36: At last the came to rest

Page 36: At last the came to rest on the balcony of the high tower and the beautiful bird sang a lilting song to the lonely Princess who was as kind as she was beautiful.

Page 35 – kept him warm and fed him certain healing herbs (Artists and Illustrators)

Danny Garrett
Austin, Texas

This page is filled with illuminations. In the first paragraph we have only two. The first is a small sketch of herbs, for that same word. Continue reading

Do three good deeds!

Page 35 – him warm and fed him certain hearling herbs

Kelley Smoot Garrett
Austin, TX

Continuing on with the 2nd Good Deed of healing the beautiful bird’s broken wing, this page shows how Good Deeds begat Good Deeds, a defining trait of identifying and acknowledging the good deeds that occur daily around us: both good deeds done by you, and those done for you. Continue reading

July 29, 2013 – Page 35: him warm and fed him certain healing herbs

By Letitia Fairbanks, Hollywood, California

Page 35: him warm and fed him certain healing herbs

Page 35: him warm and fed him certain healing herbs that Princess April gathered from the fields.

Page 33: the words "and laughed"

Page 33 – and licked his face and wagged his tail (Artists & Illustrators Perspective)

by Danny Garrett
Austin, Texas

As our Princess does her good deed for the sick boy, the story – and its illuminations continue. Continue reading

Page 33 – and licked his face and wagged his tail

Kelley Smoot Garrett
Austin, Texas

In this page’s illuminations, the love of laughter in the Fairbanks family comes vividly alive.

Continue reading

Letitia's dog at the time she drew Princess April Morning-Glory, whose name was also April!

Page 29 – had not gone far when they found (Artists & Illustrators’ perspective)

by Danny Garrett
Austin, Texas

One of my favorite illustrations in the book is this charming little came of a black and white puppy.

Continue reading

Letitia Fairbanks, c. 1945, photographer unknown

Page 29 – had not gone far when they found

by Kelley Smoot Garrett
Austin, Texas

Dateline: Provo, Utah

This page, and the next couple that follow truly point out Letitia’s deep roots in Utah, showing depictions of charming houses, “with fretwork!” as I can hear Letitia exclaim now. Continue reading

June 24, 2013 – Page 29: had not gone far when they found a tiny, black and white puppy

By Letitia Fairbanks, Hollywood, California

Page 29: had not gone far when they found a tiny, black and white puppy

Page 29: had not gone far when they found a tiny, black and white puppy who had lost it’s mother.

It is just a beautiful little illustration of Misery at twilight searching the forest and fields for April. Flowers, weeds, stars and a distant landscape combine with Fairy Misery to really set a mood.

Page 28 – One must first do three good deeds (Artists & Illustrator’s perspective)

by Danny Garrett
Austin, Texas

This page is rich in illuminations and has one very nice small illustration with a decided horizontal bias. Continue reading

Page 27 – sprinkled with silver stars (Artists & Illustrators perspective)

by Danny Garrett
Austin, Texas

The narrative continues and with it the illuminations. Illumination-wise, this page is filled with stars – in four separate arenas all down the page. Continue reading

Page 27 – sprinkled with silver stars

by Kelley Smoot Garrett
Austin, Texas

Now we get to a crucial page in our story, wherein it is revealed what Princess April must do in order to return to Fairyland.

Continue reading

The cave's walls are made of an indeterminate substance although the group of stalagmites behind the books on his desk suggest that the substance just may be limestone.

Page 25 – Plate V: The Wise Wizard (Artists & Illustrators perspective)

by Danny Garrett
Austin, Texas

Here we see the Wizard in his cave. In and of itself this is a classic image of one-point perspective; we see the depth of the image as the cave recedes into the distance. Continue reading

Page 24 – But he told her to ask the Wizard

by Kelley Smoot Garrett
Austin, Texas

Last week, we reviewed the telegram Letitia had written to Lincoln Schuster of Simon & Schuster at the request of Huntington Hartford. What sort of a reception did Letitia’s work receive from the venerable publishing house? Continue reading

May 27, 2013 – Page 24: But he told her to ask the Wizard

By Letitia Fairbanks, Hollywood, California

Page 24: But he told her to ask the Wizard

Page 24: But he told her to ask the Wizard who lived in the cave at the edge of the forest.

The first illumination is just spectacular. It is of a beautiful castle with stars all about and flowers around its base. It signatures “Fairyland” and with it downward spilling stars takes up more that ¼ the height of the page.

Page 23 – Please wake up wise, old owl… (Artists & Illustrators)

by Danny Garrett
Austin, Texas

As the narrative continues we are presented with a beautiful illustration. It is of Princess April with her constant blue companion, the butterfly, in a lovely wooded glen. Continue reading

Receipt from Dawson's Book Shop for shipping "Princess April Morning-Glory" to New York City

Page 23 – Please wake up wise old owl

by Kelley Smoot Garret
Austin, Texas

This week, as Princess April seeks council from an old owl, we’ll continue our exploration of Letitia’s 1941 journey to see Princess April Morning-Glory brought to print. Continue reading

Page 21, Plate II: The Pussy Cat, a study of white-on-white

Page 21 – Plate IV: Princess April Morning-Glory soon was fast asleep in the pussy-cat’s ear (Artists & Illustrators)

Danny Garrett
Austin, Texas

This is my favorite color plate. It is so subtle in the rendering and so soft in the pastel colors and light brush strokes. Continue reading

Firemans Fund Ins Co Fine Arts Floater issued to Letitia Fairbanks beginning May 8, 1941

Page 21 – Plate IV: Princess April Morning-Glory soon was fast asleep in the pussy-cat’s ear

by Kelley Smoot Garret
Austin, Texas

This was possibly Letitia’s favorite drawing in Princess April Morning-Glory because for most of my childhood, adolescence, and early adulthood, when the original artwork was on display in my parent’s living room – whether in LA, Dallas, or Salt Lake City – it was open to this page. Danny Garrett, the restoration artist for Princess April Morning-Glory will have more to say about this enchanting piece of artwork in his blog this week, so let’s return to last week’s letter Letitia had received from her attorney, Mr. Dennis O’Brien of New York City. Continue reading

May 13, 2013 – Page 21: Plate IV – Princess April Morning-Glory soon was fast asleep in the pussy-cat’s ear

By Letitia Fairbanks, Hollywood, California

Page 21: Full plate image - Princess April Morning-Glory soon was fast asleep in the pussy-cat’s ear

Page 21: Full plate image – Princess April Morning-Glory soon was fast asleep in the pussy-cat’s ear.

May 9, 1941 Letter from Dennis OBrien to Robert Fairbanks concerning Dennis opinion on the profitability of publishing Letitia Fairbanks' "Princess April Morning-Glory"

Page 20 – So Princess April Morning-Glory dried her eyes

By Kelley Smoot Garrett, Austin, TX

This week we’re going to let Letitia’s lovely artwork speak for itself, while we delve into a bit of the back-story of Princess April Morning-Glory, exploring the behind-the-scenes correspondence between Letitia and others from the year of its initial copyright, 1941. Continue reading

May 6, 2013 – Page 20: So Princess April Morning-Glory dried her eyes

By Letitia Fairbanks, Hollywood, California

Page 20: So Princess April Morning-Glory dried her eyes and soon was fast asleep in the pussy-cat's ear with the blue butterfly perched on the tip.

Page 20: So Princess April Morning-Glory dried her eyes and soon was fast asleep in the pussy-cat’s ear with the blue butterfly perched on the tip.

The final image is also brilliant. It is a small illumination of a cat's ear – April's next sleeping chamber.

Page 19 – as if her heart would surely break (Artists & Illustrators)

by Danny Garrett
Austin, Texas

Princess April is all alone in the Great World. The opening illumination, a heart, sort of mitigates this situation and offers forth some graphic hope. Continue reading

Page 19 – as if her heart would surely break

by Kelley Smoot Garrett
Austin, Texas

Fairy tales, of the type Letitia was looking to model Princess April Morning-Glory after, always had a moral, an important lesson meant to be learned by the children who read or had the story told to them – and it was meant to be lived by the adults reading the story to the children. Continue reading

April 29, 2013 – Page 19: as if her heart would surely break

By Letitia Fairbanks, Hollywood, California

Page 19: as if her heart would surely break.

Page 19: as if her heart would surely break.”Whatever will become of us?” she sobbed to the blue butterfly.

Page 18 - the word homes

Page 18 – was hungry, the friendly bees brought her honey (Artists and illustrators perspective)

by Danny Garrett, Austin, TX

As April continues on her journey, we see on this page the text describing the illustration of the previous page – her galloping into the sunshine on her trusty grasshopper mount. Continue reading

Page 18 - the word bees

Page 18 – was hungry, the friendly bees brought her honey

by Kelley Smoot Garrett, Austin, Texas

This page brings the emotions of the story into play, as Princess April is like any little girl who at first revels in being free of adult rules. Continue reading

Page 17: the word - butterfly: ...a blue butterfly that looks for all the world like a set of staring eyes.

Page 17 – Immediately Princess April realized that she had been tricked (Artists and Illustrators perspective)

by Danny Garrett, Austin, Texas

The plot thickens and the narrative moves forward. To celebrate this fact in a big way, we have a big illustration kicking off this page. Letitia has crafted a nice little profile shot of our heroine on a grasshopper. Continue reading

Page 17: the word - brave. As a semiotic flag, note the red cross across the knight's shield.

Page 17 – Immediately Princess April realized that she had been tricked

by Kelley Smoot Garrett, Austin, Texas

This is one of my personal favorite pages from Princess April Morning-Glory. The ½ plate illustration presents the reader with an image of our heroine astride a detailed, anatomically-correct, rendition of a grasshopper. Continue reading

The only other image of animate life form is the nest with eggs high up in the bough of the tree.

Page 15 – Plate III: the butterfly, the Princess, and the spider (A&I perspective)

by Danny Garrett, Austin, Texas

In this second full-page illustration plate, we glimpse the seminal moment when Princess April is standing between two worlds – that of her safe home, the Enchanted Forest, and the Great World (our world). Continue reading

Sandro Botticelli, The Temptation of Christ - detail

Page 15 – Plate III: the butterfly, the Princess, and the spider

by Kelley Smoot Garrett, Austin, Texas

Letitia’s artistic and drawing abilities were recognized and cultivated early in her life by her parents, Uncle Doug and Aunt Mary, all of whom ensured Letitia was enrolled in art classes at an early age, continuing through her education at Marlborough High School for young ladies, with formal training at Madame Collot’s completed during her nineteenth and twentieth years, whilst being presented abroad in Paris. Continue reading

A bust-shot of the blue butterfly depicting anxiety above the word “moaned”, with rolling eyes and 'hands' to head enhancing the emotion.

Page 14 – great a temptation (A&I Perspective)

by Danny Garrett, Austin, Texas

On this page you get some idea of how Letitia laid out her pattern of illuminations. If you squint at the it, the artwork seems to step forward and you can see that while irregular, the illuminations have a consistent pattern. Continue reading

Page 14 – great a temptation

by Kelley Smoot Garrett, Austin, Texas

On this page, the solid alignment of Princess April’s story with the monomyth story cycle as described by Joseph Campbell becomes even clearer. In our post on Page 11, we talked about how the monomyth archetype was one way to view the structure of Letitia’s story-writing. On page 11, there was the first step – The Call to Adventure and now we see our second step on the monomyth journey: The Crossing of the First Threshold: Continue reading

April 1, 2013 – Page 14: great a temptation

by Letitia Fairbanks, Hollywood, California

Page14 - great a temptation. And in spite of the blue butterfly's warning that if they left the Enchanted Forrest they could not return, she stepped over the magic boundary.

Page14 – great a temptation. And in spite of the blue butterfly’s warning that if they left the Enchanted Forrest they could not return, she stepped over the magic boundary.

Page 13 - Great World

Page 13 – Fairy children went to school (A&I perspective)

by Danny Garrett, Austin, Texas

The narrative continues and we arrive at a significant turning point. Princess April is about to leave the protection of the Enchanted Forest and foray out into the ‘real’ world, or as Letitia calls it, the “Great World.” Continue reading

Page 13 - cup

Page 13 – Fairy children went to school

by Kelley Smoot Garrett, Austin, Texas

This is a good point to talk about some of the “Old School” stylings that Letitia built into the very fabric of “Princess April Morning-Glory” as both a book, and a piece of installation artwork: the hand-lettered calligraphy in which every word of our story is written. Continue reading

March 25, 2013 – Page 13: fairy children went to school

by Letitia Fairbanks, Hollywood, California

Page 13 - fairy children went to school, Princess April decided instead to take a peek at the Great World beyond.

Page 13 – fairy children went to school, Princess April decided instead to take a peek at the Great World beyond.

March 18, 2013 – Page 12: to whisper among themselves

by Letitia Fairbanks, Hollywood, California

Page 12 - to whisper among themselves

Page 12 – to whisper among themselves that perhaps Princess April Morning-Glory was becoming a wicked fairy and would go to live in Twilight Forest in the gloomy Jet Castle of the wicked Fairy Misery.

 

March 11, 2013 – Page 11: were too small to fly

by Letitia Fairbanks, Hollywood, California

...were too small to fly and try as hard as she would, she could not saor up into the sky like the grown-up fairies

…were too small to fly and try as hard as she would, she could not saor up into the sky like the grown-up fairies.

March 4, 2013 – Page 10: Then Princess April would skip off to Fairy School

by Letitia Fairbanks, Hollywood, California

Then Princess April would skip off to Fairy School

Page 10 – Then Princess April would skip off to Fairy School