The, Uranium Seekers, saga began in 1976 when world-famous Hollywood, California photographer, Martin, was contracted to come to Utah and begin documenting, paying photographic tribute to, uranium miners, native Americans, and the Vanadium King uranium and vanadium mines on Temple Mountain, Emery County, Utah. The essence of the project was to pay tribute to the persons who traversed Zane Grey's and John Ford's great western expanse in search of uranium ore, one rock at a time, from before Madame Curies trips to the, then, present, and to remind the world's public that uranium was, and still is, used to kill, not humanity, rather cancer. I harbored the hope that by going back to the first uranium rocks the nuclear industry would re-evaluate the physical structure of nuclear reactors, one cubic yard at a time. Nuclear reactors, when built, witness Fukushima Daiichi, are still being created with too much haste. Like the uranium miners themselves, it's the hands of the humanity who cast the cement forms in which the reactors rest which determines safety. I also, rather naively, hoped when uranium's harmonous utilization was embraced its destructive military reality, throughout the world, would melt. Even with the support of the fine Beverly Hills, California literary agent, Clyde M. Vandeburg of Vandeburg-Linkletter Associates who represented Ronald and Nancy Reagan, Barry Goldwater, and many others at the time, the national and international events at Three-Mile Island and Chernobyl put Uranium Seekers and Martins great photographs to bed for decades. However, recently I learned the Utah Historical Quarterly Unpublished Manuscripts from the Department of Community and Culture at the Utah State Archives had harbored some of the manuscript material for decades and the recent events at Fukushima Daiichi made uranium part of the international conversation once again, I decided to dust off Martin's work and snatches of the original material for Uranium Seekers.

The, Uranium Seekers, saga began in 1976 when world-famous Hollywood, California photographer, Martin, was contracted to come to Utah and begin documenting, paying photographic tribute to, uranium miners, native Americans, and the Vanadium King uranium and vanadium mines on Temple Mountain, Emery County, Utah. The essence of the project was to pay tribute to the persons who traversed Zane Grey's and John Ford's great western expanse in search of uranium ore, one rock at a time, from before Madame Curies trips to the, then, present, and to remind the world's public that uranium was, and still is, used to kill, not humanity, rather cancer. I harbored the hope that by going back to the first uranium rocks the nuclear industry would re-evaluate the physical structure of nuclear reactors, one cubic yard at a time. Nuclear reactors, when built, witness Fukushima Daiichi, are still being created with too much haste. Like the uranium miners themselves, it's the hands of the humanity who cast the cement forms in which the reactors rest which determines safety. I also, rather naively, hoped when uranium's harmonous utilization was embraced its destructive military reality, throughout the world, would melt. Even with the support of the fine Beverly Hills, California literary agent, Clyde M. Vandeburg of Vandeburg-Linkletter Associates who represented Ronald and Nancy Reagan, Barry Goldwater, and many others at the time, the national and international events at Three-Mile Island and Chernobyl put Uranium Seekers and Martins great photographs to bed for decades. However, recently I learned the Utah Historical Quarterly Unpublished Manuscripts from the Department of Community and Culture at the Utah State Archives had harbored some of the manuscript material for decades and the recent events at Fukushima Daiichi made uranium part of the international conversation once again, I decided to dust off Martin's work and snatches of the original material for Uranium Seekers.

Unplug the clock. Turn off the television. Put a stack of John Hartford albums on the stereo. Sit back and take a trip to the hills of eastern Kentucky. Come meet other real people among the hills, but don't expect to see any stereotypes of hillbillies or moonshine stills. His tribute to these gentle people is, in the best sense, poetic. His writing flows like a creek running down the piney mountains. Royce has given the world an impressive record of one of the last remnants of American culture still uncontaminated by a plastic mentality. It is hoped this warm and beautiful book will not be an epitaph to the mountain culture, but the start of the renaissance of their natural lifestyle. -Greg Bailey, Columbia Missourian Country Miles are Longer than City Miles, a sort of Kentucky Foxfire that examines with reverence about 20 of the state's artisans and their work. Royce's book is a genuine artcraft of its own kind, a lovingly carved little piece of work that exudes vibrant enthusiasm from every page. It is good to see ourselves as others see us. In this case, it can bring us back to some sense of ourselves. Commitment to excellence is a rare enough quality in most any human undertaking, and it is this quality that Craig Evan Royce is concerned with in Country Miles are Longer than City Miles. -Review by Don Edwards Herald-Leader Literary Columnist The Lexington Herald-Leader This is a craft book of a different genre. It is the story of the inseparable love that the true craftsman has for his work - and his respect for nature. Each chapter opens with a sepia photo - and every priceless photo tells a story. Interviews with the individual craft folk are written in dialect - and thefirst-hand mountain memoirs are indeed moving and enlightening simultaneously. Author Royce has compiled a unique and inspiring glimpse into the art of the southern highlands from which all who read, be they craftsmen or not, can benefit. -edited by Susan Bruno, The NEWPORT NEWS DAILY PRESS