to its present, for its practitioners and its audience, and so to encourage its future. Of it Ted Shawn wrote that “what has lain, unformed in words, in the dance artists’ consciousness is made explicit here”, yet it was written from the point of view of an audience that she argued was distinctively American. With Agnes de Mille recommending the first book by an unknown as "a key, a talisman" for young dancers, and Shawn hailing the second as "an ideal catalytic agent between stage and audience", she was well-positioned for the beginning of the 'dance boom'. Olga Maynard gained increasing university experience as guest lecturer at California State University Long Beach, the University of Utah, the University of Oregon and the University of California, Irvine. Although she continued to publish locally, by the mid-1960s, as part of a cultural growth of interest in dance, she had taken a national position as a writer on dance and theater arts, developing close friendships with such dance luminaries as Shawn and Maria Tallchief. Tallchief was the subject of the follow-up book, which was a particular “study of an American ballerina in her setting.” The next development of The American Ballet was its extension into her best selling book, American Modern Dancers. That book has a subtitle, “The Pioneers”, implying a sequel—perhaps as sketched in a “family tree” diagram at the end. But despite Maynard's associations with Helen Tamiris, Katherine Litz, Pauline Koner, and Bruce King, such a 'sequel' would have to be conjectured from her subsequent articles on them, Merce Cunningham, Carolyn Brown and others, together with her final book, on Judith Jamison and Alvin Ailey. Her next two (overlapping) book projects brought her work back to basic issues of education and "how to look and how to listen". The return to educational concerns was consolidated by a 1969 invitation to join the faculty of Eugene Loring's new, academically unique, professional Dance Department in Dean Clayton Garrison's School of Fine Arts, at University of California, Irvine (joined four years later by Antony Tudor). Garrison's and Loring's programs explicitly encouraged continuing contact with working artists, in dance and visual arts: an unusual arrangement, luckily ideal for balancing two of Maynard's vocations, and she settled permanently in Irvine, California. Able to put her ideas about humanities education into institutional setting, at UCI Maynard helped develop and taught both undergraduate and graduate courses in the