The first book in history that documents Waltz from birth to the grave. This landmark text offers historical proof, such as ship manifests and German translations of his infamous directions to the mine, and all major speculations that have occurred in the hundreds of books published in the 111 years following Waltz's death.

Just plain dumb luck or hard work? Is an explorer's or a worker's any different? Is our whole life spent for just one final day on the earth to see family and friends? What do we do when we find that which we have been running from is what we are running to? The treasure of a lifetime, the greatest gift we have been given haunted by the story of those who had come and gone before was found only to be removed by decisions that need to be made that had never before been considered. Space and time melting into one purpose and choice that we train and practice for in hopes of achieving perfection one day. A hole in one and the zip of a perfect dive, what is the one dream we hold near to us that calls us beyond our limits into life-threatening situations where we go without question? One man's quest to find answers to his own life and to provide for his family as he blindly follows his calling and seeks peace in the balance of all things.

"One who searches for what is not lost is a fool": ! The book "THE LOST DUTCHMAN MINE and PEG LEG PETE MINE" may lead one to the forgoing conclusion in regards to the Lost Dutchman Mine. However, after over five years of research and writing this writer can state that his conclusions are not fact nor fiction, just supposition. However, the book is designed to allow the reader to answer the forgoing questions about fact or fiction about the Lost Dutchman Mine. In regards to the Peg Leg Pete Mine (a supposition essay) the reader is allowed to answer the question about factor fiction for themselves. This writer's first journey into the past began when he wrote "THE EL MONTE PARK HISTORY" when he was working at El Monte Park (Lakeside, California). as a Park Ranger After, thirteen months of research and writing the completed work (THE EL MONTE PARK HISTORY) contained twelve pages. Years later in an abandoned pump house (8'x16') located in El Monte Park; Artist/Muralist Mona and Ranger Harold Cohn created the "THE EL MONTE OAKS MUSEUM" by Mona Mills, Artist/ Muralist painting murals on the interior walls of the abandoned pump based on the book "the EL MONTE PARK HISTORY". I addition the second article this write saw published was titled: 'THE GOLDEN ONION" which appeared un the November/December issue of "GOLD PROSPECTOR MAGAZINE". Years later, Ranger Cohn took a one day course offered by Cuyamaca College, El Cajon, California titled: "INDIANS of the Desert". The course was a driving/walking tour of ancient Native American site in the Anza-Borrego Stte Park (California). Lowell and Diana Lindsay of Sunbelt Books were the instructors. it was during this tour this writer saw his first pictograph (example of Native American rock art). Diana Lindsay was giving a supposition explanation of the pictograph to the group (30-35) people. The pictograph measured *'8x12". First she said the meaning of the pictograph could be spiritual. Next she stated the pictograph could be about fertility. Then one of the group hollered out: "ITS GRAFFITI!". Then it was like a black curtain dropped. The people disappeared. There was just this writer and this writer and the pictograph. I shouted out: "THE DAMNED THING IS A MAP!' I returned to the real world at this point. I was welcomed the group\s laughter which continued the rest of the day and all of the next day for the class titled: "PIONEER'S of the DESERT: Years later I was taking a creative writing course titled: "ARTICLES WRITING". As with all creative writing, if you turned your three assignment you automatically received your "A" for the class. I had a bad case if writer's block , I was it trouble! I stuck! Then said to myself write about that pictograph you saw in the desert. As with all creative assignments every one in the class receives a copy of the article the writer has written as the writer reads it aloud. After the writer is finished the writer's work open to comments by the class. After I finished reading my article, 'THE STONE SPOKE: a classmate, "A LITTLE OLD LADY" screamed: "YOU CAN'T DO THAT I answered: MADAMN, I JUST DID! Years later and years of research and writing I wrote the e-book titled" THE STONE SPOKE". The forgoing book contains a series of supposition essay of Native American rock and related subjects. It is available barnes&noble.com.

Lost Dutchman's Goldmine, located in the Superstitions, near Apache Junction, Arizona is so rich in gold that some dreamers have spent decades looking for it. The Dutchman, a nickname often used for Germans, was Dr. Jacob Waltz. He had a map and directions to a goldmine with the richest ore he had ever seen. In one published story, a sample of the ore proved that it was indeed the purest gold ever found. This legend, based on fact and enlarged by many fanciful tales and deadly searches, reminds me of another Dutchman's goldmine, almost entirely lost, almost a myth today. Luther, the son of a prosperous mine owner, once compared the Scriptures to a mine filled with veins of precious metal. This Word of God can be explored and enlarged throughout a lifetime, always yielding more treasure, but never exhausting itself. Nor could any student of the Word ever claim to have learned all the Bible reveals. Yet, this revelation of God is lost to many Lutherans today, especially to the leadership of the LCMS, WELS, ELS, and ELCA.

The amazing true story of America’s most famed lost gold mines and epitome of Western traditions, this book tells the tale about the Lost Dutchman gold mine in the Superstition Mountains in Arizona during the late 1930s and 1940s. Based on author Barry Storm’s travels over the mountains in search for lost Spanish treasures, this book was the inspiration behind Lust for Gold, a 1949 American western film about the legendary Lost Dutchman, starring Glenn Ford. Contains lots of on-the-spot work in the mountains reading treasure signs, trail markers, maps and great photographs.

Human rights offer a vision of international justice that today’s idealistic millions hold dear. Yet the very concept on which the movement is based became familiar only a few decades ago when it profoundly reshaped our hopes for an improved humanity. In this pioneering book, Samuel Moyn elevates that extraordinary transformation to center stage and asks what it reveals about the ideal’s troubled present and uncertain future. For some, human rights stretch back to the dawn of Western civilization, the age of the American and French Revolutions, or the post–World War II moment when the Universal Declaration of Human Rights was framed. Revisiting these episodes in a dramatic tour of humanity’s moral history, The Last Utopia shows that it was in the decade after 1968 that human rights began to make sense to broad communities of people as the proper cause of justice. Across eastern and western Europe, as well as throughout the United States and Latin America, human rights crystallized in a few short years as social activism and political rhetoric moved it from the hallways of the United Nations to the global forefront. It was on the ruins of earlier political utopias, Moyn argues, that human rights achieved contemporary prominence. The morality of individual rights substituted for the soiled political dreams of revolutionary communism and nationalism as international law became an alternative to popular struggle and bloody violence. But as the ideal of human rights enters into rival political agendas, it requires more vigilance and scrutiny than when it became the watchword of our hopes.