MS01.05.00.B07.F12.0067

February 18, 1974
Dear David Driskell:
Just a note to let you know that I was
pleased as usual to hear from you. I think
the enclosed redorded tape is self explanitory. I
feel that we may want to come back to the
content later to elaborate or clarify or both. If
you should visually transcribe any of the tape
I hope that you will change a word here and there.
For instance where I say Locke or Barnes and
obviously I mean te opposite. Or I say school
and really mean class. When I am sometimes under
pressure these little slips happen.
I am thankful for the two latest catalogues. I don't
know enough about James Phillips work, but I greatly
admire what Nelson Stevens is doing. As for Peter
Clarke I like to tell people that we're cousins. Since
we have British slave names I am sure that we are
twigs off of the same tree or trade as English clerks.
Peter came from the fancy masters who added the "e"
on the surname. I have a book of the Clark lineage of
England and the Coat of Arms - just curious - because all
that matters to me is my African heritage.
As I was afraid I left out at least two other artists
that I met through MBB. Lois Jones and William Attis. She
even brought Attis to our home in Philly in the '40's along
with Betsy Graves [Reyneau?]. She wrote to me often about Lois
Jones but I didn't meet her until early 1953 at her
home in Wash. D.C. This meeting helped to pave the way for
you at Talladega, as I certainly let Lois know when
I prepared to leave. Somehow I didn't include Horace
Pippin among the Philly artists because he lived several miles
away in Westchester, Pa. He wasn't known before the
second World War, and the trained artists were so hostile
that they wanted me to hoin them to attack Pippin because
(over)