Guinn, p. 109. She composed these poems in an old bankbook the jailer's wife had given her to use as paper. Some were her own work, some songs and poems she copied down from memory, Parker titled the lot "Poetry From Life's Other Side," and when she was released either left it behind or gave it to the jailer. In 2007 the bankbook sold for $36,000. Item 5337Bonhams 1793: Fine Art Auctioneers & ValuersArchived 2010년 2월 27일 - 웨이백 머신 One of the poems was "The Story of Suicide Sal," a neatly penned, 105-line prisoner's lament told "in the jargon of gangdom." Parker, Cowan and Fortune, pp. 82–5; Guinn, p. 109. A year later, in an apartment the gang had rented in Joplin, Missouri, Parker was tinkering with "Sal" when a shootout began downstairs. This abruptly abandoned draft became the best known of Bonnie Parker's poems, after "The Story of Bonnie and Clyde." Guinn, pp. 168, 172.
Guinn, p. 109. She composed these poems in an old bankbook the jailer's wife had given her to use as paper. Some were her own work, some songs and poems she copied down from memory, Parker titled the lot "Poetry From Life's Other Side," and when she was released either left it behind or gave it to the jailer. In 2007 the bankbook sold for $36,000. Item 5337Bonhams 1793: Fine Art Auctioneers & ValuersArchived 2010년 2월 27일 - 웨이백 머신 One of the poems was "The Story of Suicide Sal," a neatly penned, 105-line prisoner's lament told "in the jargon of gangdom." Parker, Cowan and Fortune, pp. 82–5; Guinn, p. 109. A year later, in an apartment the gang had rented in Joplin, Missouri, Parker was tinkering with "Sal" when a shootout began downstairs. This abruptly abandoned draft became the best known of Bonnie Parker's poems, after "The Story of Bonnie and Clyde." Guinn, pp. 168, 172.
Red River Plunge of Bonnie and Clyde: Collingsworth Pioneers Park, US 83 north side of Salt Fork of the Red River: Texas marker #4218 – Texas Historical Commission
Ramsey p 108–113 boasts of publishing all the frames from the Joplin rolls in proper sequence, but in fact missed at least ten: one is a shot of W. D. Jones sitting at the wheel of the Rosborough car with "Bonnie's" cigar clenched in his teeth like FDR (Barrow and Phillips, p 60); another has Jones lounging atop the familiar weedy clay bank behind the car in the most famous of the set-ups (Barrow and Phillips, p 107); yet another is a second shot of Clyde alone up on the rocks, but here with his hat off (Knight and Davis, p 72). There are three frames apparently unpublished in books but available to view at the Bonnie and Clyde-oriented website Boodles Board[1]Archived 2013년 11월 2일 - 웨이백 머신: in two, W.D. is perched high on the rocks, and in a third, Clyde and W.D. play movie outlaws behind some large boulders, pointing their pistols; the quality of this shot is poor because Bonnie jarred the camera while she was pushing the shutter button. At the same website is a facsimile of a 1935 Startling Detective Adventures magazine with a rare shot of Clyde squatting in front of the car by the weedy clay bank. The final three of the missed ten are right within the Ramsey book, but not included in the Joplin gallery: one is a simple "profile" of the Rosborough car all by itself, with no people (Ramsey, p 98); a second is Clyde standing by himself on the ground near the rocks with his hat in his hand (Ramsey, p 41) in the same spot where he also posed with Bonnie, and with W.D.; and finally a shot of Jones, again with the weedy clay bank as background (Ramsey, p 80)—the tight crop on Jones makes it hard to tell if there had been someone else in the picture at some point. The film was the then-popular size 116, finally discontinued in 1984; the Kodak No. 2A Folding Autographic Brownie camera, on loan from Blanche (Barrow and Phillips, p 227n10) produced eight shots per roll. Ramsey's gallery of 29 frames, plus the ten "extra" frames, yield a total of 39 frames, a shot shy of five complete rolls. Perhaps the police found four exposed rolls plus a fifth roll still in the camera with a shot to go, or perhaps the outlaws did expose all forty frames and there is one more Joplin photo waiting to be discovered and reunited with its familiar brethren. Timing: if Blanche had lent them "the kodak" on their well-documented late night visit to her mother's place in Wilmer, Texas on March 25, then the Joplin photos would have been snapped between Monday, March 27 and Wednesday, March 29. The five met up on Thursday the 30th at Checotah, OK, and proceeded on to Joplin from there (Barrow and Phillips, p 38). Since there are no photos of Buck or Blanche on the Joplin rolls (the Ramsey book mistakes 1931 honeymoon photos for 1933 Joplin shots), the photography likely had concluded by March 29. A different version by Jones in his 1933 debriefing places some of the photography in North Carolina, in a timeframe contradicted by the theft timing of the Rosborough car. Ramsey says the fate of the original negatives has been a mystery since 1933 when the Missouri Highway Patrol took possession of them; the negatives known today are copy negs made in 1963. (Ramsey, p 107)
Guinn, p. 109. She composed these poems in an old bankbook the jailer's wife had given her to use as paper. Some were her own work, some songs and poems she copied down from memory, Parker titled the lot "Poetry From Life's Other Side," and when she was released either left it behind or gave it to the jailer. In 2007 the bankbook sold for $36,000. Item 5337Bonhams 1793: Fine Art Auctioneers & ValuersArchived 2010년 2월 27일 - 웨이백 머신 One of the poems was "The Story of Suicide Sal," a neatly penned, 105-line prisoner's lament told "in the jargon of gangdom." Parker, Cowan and Fortune, pp. 82–5; Guinn, p. 109. A year later, in an apartment the gang had rented in Joplin, Missouri, Parker was tinkering with "Sal" when a shootout began downstairs. This abruptly abandoned draft became the best known of Bonnie Parker's poems, after "The Story of Bonnie and Clyde." Guinn, pp. 168, 172.
Ramsey p 108–113 boasts of publishing all the frames from the Joplin rolls in proper sequence, but in fact missed at least ten: one is a shot of W. D. Jones sitting at the wheel of the Rosborough car with "Bonnie's" cigar clenched in his teeth like FDR (Barrow and Phillips, p 60); another has Jones lounging atop the familiar weedy clay bank behind the car in the most famous of the set-ups (Barrow and Phillips, p 107); yet another is a second shot of Clyde alone up on the rocks, but here with his hat off (Knight and Davis, p 72). There are three frames apparently unpublished in books but available to view at the Bonnie and Clyde-oriented website Boodles Board[1]Archived 2013년 11월 2일 - 웨이백 머신: in two, W.D. is perched high on the rocks, and in a third, Clyde and W.D. play movie outlaws behind some large boulders, pointing their pistols; the quality of this shot is poor because Bonnie jarred the camera while she was pushing the shutter button. At the same website is a facsimile of a 1935 Startling Detective Adventures magazine with a rare shot of Clyde squatting in front of the car by the weedy clay bank. The final three of the missed ten are right within the Ramsey book, but not included in the Joplin gallery: one is a simple "profile" of the Rosborough car all by itself, with no people (Ramsey, p 98); a second is Clyde standing by himself on the ground near the rocks with his hat in his hand (Ramsey, p 41) in the same spot where he also posed with Bonnie, and with W.D.; and finally a shot of Jones, again with the weedy clay bank as background (Ramsey, p 80)—the tight crop on Jones makes it hard to tell if there had been someone else in the picture at some point. The film was the then-popular size 116, finally discontinued in 1984; the Kodak No. 2A Folding Autographic Brownie camera, on loan from Blanche (Barrow and Phillips, p 227n10) produced eight shots per roll. Ramsey's gallery of 29 frames, plus the ten "extra" frames, yield a total of 39 frames, a shot shy of five complete rolls. Perhaps the police found four exposed rolls plus a fifth roll still in the camera with a shot to go, or perhaps the outlaws did expose all forty frames and there is one more Joplin photo waiting to be discovered and reunited with its familiar brethren. Timing: if Blanche had lent them "the kodak" on their well-documented late night visit to her mother's place in Wilmer, Texas on March 25, then the Joplin photos would have been snapped between Monday, March 27 and Wednesday, March 29. The five met up on Thursday the 30th at Checotah, OK, and proceeded on to Joplin from there (Barrow and Phillips, p 38). Since there are no photos of Buck or Blanche on the Joplin rolls (the Ramsey book mistakes 1931 honeymoon photos for 1933 Joplin shots), the photography likely had concluded by March 29. A different version by Jones in his 1933 debriefing places some of the photography in North Carolina, in a timeframe contradicted by the theft timing of the Rosborough car. Ramsey says the fate of the original negatives has been a mystery since 1933 when the Missouri Highway Patrol took possession of them; the negatives known today are copy negs made in 1963. (Ramsey, p 107)
