>> from our studios in new york city, this is charlie rose. charlie: mr. -- misty copeland is here can you last month she became the first african mac in woman to be named a principal dancer in american ballet theatre's 75 your history. the news came just a few days after her new york debut in the role of odette in swan lake. she began her training at the in usually late age of 13 and in the two decades since, she has overcome numerous obstacles to achieve the highest honors in dance and become a rare pop-culture celebrity. here's a look at her recent profile on cbs "60 minutes."

>> she is never more light than when she is on stage, on her toes. her athleticism and grace on full display. she can leave through the air. she can spend on a dime. she can make you believe she is a swan by a lake. >> do you feel comfortable up there? >> yes, something happens when you feel that energy and excitement from the audience. you jump higher than you ever have. it's just a really magical thing that happens in those moments. charlie: i'm pleased to have misty copeland at this table for the first time. misty: thanks for having me. charlie: are you better because she took the arduous journey that you took to be where you are. misty: it's hard to say.

i think that because of all the obstacles and just the way i grew up in my life experiences i think it has made me fight harder. it has pushed me to be better and not take things for granted. so maybe it has. charlie: it's a lesson and will a lesson in support, a lesson in belief. what else made it happen? misty: talent? charlie: yes, of course, talent. but with the talent that you developed, or talent that you began with? misty: i think a combination of both. i don't think i could've made it with four years of training into american ballet theater. one of the top companies in the world, that's very unusual. charlie: and for a dancer, what does that mean? misty: for a dancer, you spend

all of those years training as a child because it has to become so ingrained in your muscle memory, it has to mold the body to do these things because it has to be second nature once you get to this point when you're on state and you have to become an artist. and i only had four years to do it. a lot of that was naturally there, the line of my muscles and the flexibility that i had naturally. even my musicality in my ability to pick up movement. charlie: was it more likely to do it with the body you had, then otherwise? somebody else might have wanted it but it wouldn't work because of something physically. a great tennis star said there's something about my way that -- the way my shoulder works that allows me to serve the way i do. misty: my body was capable of supporting itself because of my most development that i had naturally. because of the flexibility that i had.

but it was also a mind connection to my body. you can have the ideal ballet body, but it doesn't mean you're going to have an understanding of be able to go on stage and perform. there are so many elements that come into play at this level. charlie: what is the difference in skill and artistry? misty: wow. artistry i think it's something that you have to have an innate understanding and ability to come alive on stage. not every dancer has that. and then the ability to understand how to become a character and how to portray a character, and for it to be able to read to the top tier at the metropolitan opera health. and then there is the technique that you learn from having the training, from understanding how it works. working clean and strong and being consistent. there are just so many elements. charlie: i am struck by it because in many ways it is about

fundamentals. you talked about the audience, you talk about the art, the skill, the body the power and all the best instruction you could possibly get. it's that combination of all those kinds of things, but you almost have to approach it as a craft. misty: absolutely. charlie: i got to do this, i've got to do this. misty: yes. we are so similar, we are athletes and we are so similar to athletes that compete and perform at the highest level, but at the same time our ability to become artists really separates us from that. the sensitivity that you have to have in becoming these characters on stage again, it's very detail oriented, but you

also have to allow yourself to be in the moment and what ever it is your getting from the audience. charlie: athletes compete with other people. who are you competing with? misty: definitely with yourself. every time for me when i step onto the stage, it is life. you have to be so focused in that moment, and it doesn't matter how many ordinances you do in a two-month season, every single time you get on stage, it has to be like it's the first time because there are people in that audience that have never seen you before. charlie: there's a story about a famous baseball player, it may have been joe dimaggio. even though it the end of the season and even though it didn't matter he ran every bit of the way. he ran to first base. he did everything he did as if it was the world series. someone said you don't need to do this, the season is over. and he said there is somebody in

the stadium who has never seen it. and i want them to see me at my best. misty: it's true, and i think there's something ingrained in us as athletes. you get so used to that pattern and way of working that you just have to finish and be your best all the time. charlie: i do ever had the thought that if i didn't have to struggle so much, if it had been easier, if there weren't so many obstacles, i would have been better sooner? misty: no. i think had i started sooner, i would have been better sooner. i think what really helped me from my background was my ability to use all of those experiences to become an artist. i think that having life experiences allowed me to have a better understanding of what it is to be a person at a young age -- i think a lot of athletes and

a lot of dancers in this very secluded atmosphere, and you spend so much time in the studio that you don't really have experiences that a lot of people have. dating and going to parties. you are in the studio and all of a sudden you get into a professional company, and here it is, you are an artist. charlie: have you missed something because of that, or has it been such a love affair that you don't regret it? misty: i don't regret one single thing. i don't think i could have become the woman i am today without ballet and without all the experiences i've had because of this career. charlie: the person you are, the values you have? misty: everything. to bs in pathetic as i am an sympathetic. to be as strong, intelligent to be as open, loving, and caring. i don't think i could have

become all those things without classical ballet. charlie: people also think your sappy because you understand the world. do you really understand the ballet world, the social media world? you understand the environment you live in and you understand how to master it. misty: i think that is something i developed because of my experiences of being alone in a ballet company like abt, meaning i was the only black woman in a company of 80 dancers. i had to learn a different way of getting my voice heard. i think i just had to take a different route. i couldn't just sit back and rely on my talent to get me there. i had to understand how to communicate with my artistic director. to say what i wanted, to express how much i value my career and respected what i did and i think that goes a long way when

you're looking at how i've approached everything else in my career. i think that is hard for a lot of dancers to do. we just don't ever develop those skills. when you are in a ballet company, everything is taken care of. we are almost treated like a student for an in -- for our entire career. it's not an environment that really nurtures that kind of thing. charlie: it's not a normal existence. and you have to make sure that that aspect of your own humanity has a chance to grow. misty: right. it just doesn't happen for a lot of people. i felt if i was going to succeed in the ballet world, in american ballet theater, i had to make a lot of these things happen for me. charlie: you are now the principal dancer at the american ballet theater. have you just begun to develop all that you can be as a dancer? misty: absolutely.

i think maybe it was last season that i really started to feel like i had a hold on what it was always really doing. again, so much came really naturally for me but there are no shortcuts in ballet. as much as everything was sort of easy for me to do in terms of movement, there were a lot of holes in my training in my understanding of what it was to really be a ballerina. i feel like i'm just now kind of honing that. it's exciting that have so much ahead of me. i have opportunities to do these roles that i'm just now starting to do for five or 10 more years. charlie: who has had the mostmisty: raven wilkinson, i would say. former ballerina african-american. she has just taught me what it is to have just pure heart and

love for what she did, for her ballet career, for ballet, for dance. she comes to all of my performances and i have never once heard her complain about her career and that things she didn't get to do because she was a black woman. but what she learned from it and her being in my life, and she said to me when i was promoted that she didn't think she would ever see that in her lifetime. charlie: she didn't think she would see it in her lifetime. misty: so it means so much that we are sharing it together. charlie: you would think, not just because we've made enormous strides, and we know we have a long way to go, but it is because -- art is supposed to be a place that recognizes talent. that is what art is about.

how good are you? and my right? -- am i right? misty: i think that you have to be extremely gifted to get into an elite, international ballet company. charlie: but that is a perception. misty: yes, but once you get there, it's not how gifted you are, it's what you do with the opportunity that you have. it has just been a tough path because i was the only one, and there has never been an african-american woman to make it to this level at american ballet eater. charlie: so therefore you feel what responsibility? misty: i feel like i've given myself this responsibility, and that is to be the voice of so many african-american dancers that didn't get the opportunities that i have, that

didn't have a voice to try and educate a broader audience on what the classical ballet world is, and all those african-american women who came before me and helped create this path for me. charlie: i can imagine it's a bit light, for young african-american girls, like it was for -- i saw so many tears in 2008. they saw a man at congress put his hand on the bible as the next president of the united states. they never thought they would see it. that's the way it is to see you dance across the stage. and they will say, if she can do it, i can do it. misty: that's why i've been so

outspoken. i wanted to be that person for those people. i didn't want it to be about me. i wanted it to be about what i represent, and what the future of ballet could hold for so many. charlie: it's incredible. take a look at this. this is a clip. here it is. ♪ misty: it's like this contrast of being extremely wild and animalistic, but at the same time having to have a sense of control.

>> she's a firebird, but there is something about her i've never seen anything like it before. what i want to do is touch her and every time i tried to do that, she starts to fly away. that's when you see those moments. misty: the great thing about the choreography is it's a struggle. choreography is a struggle, and the story is a struggle. it has to be there. so you cannot rehearse it to the point where it's too easy, which is what we do with l.a.. -- with ballet.

charlie: that's from a billion -- a brilliant documentary by rick burns. you said at the end -- what did you say at the end? misty: that what we strive for in the studio and work so hard for is to make it look effortless and easy. and something that was being created with the story firebird is that it should look like a struggle. so i was the challenge of not over rehearsing, so that it became too effortless. charlie: what is the visualization for you as a dancer? what are you thinking in your head as you execute the moves? i can relate this to sports. if you are shooting a basket your friend steph can literally

see it before it leaves his hands, swishing through the air. misty: it is similar, but it doesn't happen in those moments. that's something that we almost do in preparation, to be able to prepare. you want to visualize what it is you want it to be. but in those moments, the reason we rehearse over and over again is that you are in those moments you're not thinking about the steps. you are so in it that you are that character and you are living as that character. charlie: in swan lake, do you think of yourself as a swan? misty: yes, you have to. i think that's something for me it's number one. being an artist, it's so much more to me that executing these steps. that's what makes people feel that's what art is about.

it's not coming to see if someone is going to execute these steps that i'm sure thousands, millions of people could do. charlie: what can they do that speaks to your heart and elevates your emotions? does body shape make a difference? misty: it's definitely one of the requirements when it comes to this performance that you're supposed to look a certain way. and i think skin color goes along with that. that my belief is that -- and with my own experience i went through puberty and my body completely changed. i think that we have the ability to eat in a certain way and do cross training and with all that we know about how to take care of our body's these days you can get it to be the shape

that you want it to be. i think that is something i have done with my body. charlie: do you know anybody, anybody that you believe has more willpower than you? misty: i don't know. [laughter] charlie: you can imagine anybody that is willing to work harder to mold her body, to practice more, to be the best? misty: i think that dancers are rare people. and what we sacrifice and commit to do what we do with our bodies, we give our lives to be a part of this. there are no days that you can take off. what i have to say about me personally is that beyond my career at american ballet theater, and i think what makes me even more of a hard worker is what i'm doing outside of my career at abt.

it doesn't mean i'm taking off time to do these things like help create project plie, to be a part of boys and girls clubs and write a memoir because i know what my story can do for so many people. that is all over time. that's because i'm passionate about changing the world of ballet. charlie: changing ballet. i assume you are enormously popular because of the commercials, hugely popular. you probably reach more people than you would reach the rest of your dancing life. does it give you power? does it give you misty copeland, you are more than a principal dancer. your name, your image. misty: i think the power that it gives me is for people to see me

and hear me. charlie: and want to see you and hear you. misty: right. i wanted my voice to be heard for so long, and it's a platform. those opportunities to be seen, that the platform for people to know what it is i'm a and hear it. charlie: and what you've been through. knowing how you feel so strongly and deeply and passionately and eloquently about this, does anybody say, just dance? misty: yes, absolutely. and i have my days when i don't want to talk. i was trained to be a dancer, and i never liked talking, which is probably why i was drawn to dance. but i think that part of my purpose is not just to be a ballet dancer, but it's to speak about these issues in the classical ballet world. and not everyone is going to

agree with me or understand it and it's not for everyone, but for those who are, it is reaching, and that is affecting and that may be changing their lives. those are the people that it is for. charlie: take a look at this this is again from rick burns great documentary, american ballet theater history. ♪ misty: it's amazing to be involved in celebrating the history. i came to abt for the first time when i was 16. i joined the company when i was about 19. it has been my dream from the time i knew what ballet was to be a part of this company. i knew the diversity of it and the fact that we have theater in our name sets us apart from

solving other classical companies. abt is all those things, and always has been. it is so diverse. to be a black woman and to be a part of it is even more special. it definitely set that road for me and made it seem more tangible. and i'm just so proud to be a part of this company's history, because it is america. it represents what america is, and i am that. charlie: does part of you think you can fly? [laughter] misty: you have to have imagination, you have to believe all of those things when you are on stage performing. charlie: do you think -- and i'm

asking this almost naïvely, but genuinely asking this. when people see you dancing with all the extraordinary gives you have do you think they see a black woman, or simply see a brilliant ballerina? misty: i like to think that they see me as a ballerina but my experiences and the reality of this world is that there are some people that see me as a black woman up there, or that have thought or think i don't fit in, but i try and be the best dancer, the best artist that i can be, because when it comes down to it, that's what i'm working so hard for, day in and day out charlie:. to be the best dancer. misty: yes. charlie: take a look at this this is the under armour commercial which has been viewed more than 8 million times. >> to her candidate, thank you

for your application to our ballet academy. unfortunately, you have not been accepted. you have the right feet achilles tendon, turnout, torso link, and bust. you have the wrong body for ballet, and at 13, you are too old to be considered. ♪ charlie: misty, thank you. a pleasure to have you here. congratulations on all you have done. misty: thank you very much. charlie: we will be right back.

stay with us. ♪

charlie: to kill a mockingbird is one of the most cherished and popular books in american literature. it was released in 19 weeks and inspired a generation of civil rights activist and literature lovers. harper lee wrote another book three years before mockingbird it was called "go set a watchman ." the sequel was withheld by her

editor, who asked for a rewrite, focusing on two decades earlier. go set a watchman was released to buzz and controversy. the protagonist, atticus finch once heralded as a hero worldwide, now appears to be a darker character. they are actually calling him a bigot. i guessed is the former executive editor of the new york times and has won a pulitzer prize for a book he wrote about the south. i'm pleased always to have him at this table. welcome. >> thank you, charlie. how could this saintly atticus described earlier in the book in much the same terms as in mockingbird, suddenly emerge as a bigot? you know literature, you know the south. and you've read part of the book. >> i have to say not to debate my former colleague and good friend but i think people who

think this book should not have been published and that it is a betrayal by harper lee of her heroic character, atticus finch, have really got it all wrong. because of the nature of the book, and because of the sociology and history of the south, and because of the literary significance of this a of publication or literary scholarship, and let me walk through those briefly. this book is not just part of our southern literary tradition our american literary tradition. this book is part of the global intellectual heritage. 40 million copies taught in 70 countries around the world. it's important that we know everything we can about a landmark work like that. secondly from a sociological

point of view harper lee has very bravely given us another picture of the south, 20 years after the wonderful coming-of-age story of "to kill a mockingbird." charlie: and theio perio she covers his 20 years later. dhowell: the picture she gives us 20 years after scout and jem's idyllic childhood shows us what happened in the cell during that time. i was there, i lived this period . good people in the white community who had been in favor of equal treatment before the law, let's say, and for more humane racial relations hit a

wall in server -- after the supreme court decision in 1954. they simply said too much, too fast. and this was a widespread phenomenon. most people were focused on the heroic civil rights workers or the demonic clans people, but we are talking here about educated middle-class people of good intention who went to church who found that could night get over this -- charlie: was it because of the economical or psychological rice they would pay? howell: the term one hurt at dinner tables from one's relatives and friends, and one heard it at church -- too much too fast. moving too far, too fast. we are not ready. those people would actually have

an intellectual awareness and a moral awareness that segregation had to in, but they were gradualist. for a southerner to cross the racial divide in that time to say come into sympathy with what martin luther king was saying and what the civil rights movement was laying and what black people aspire to, a white southerner of that time simply had to say to himself setting aside all the details about the constitution and the different educational level, they are right and we are wrong. and that generation in particular atticus finch's generation, the greatest generation in the most important war of the century, simply were not the greatest generation when

they got home after the war and confronted the rising expectations after world war ii. charlie: is it a good book? howell: i think it's a very good book. the part of me that set out to be an english professor before i got kidnapped by newspapering thinks this is a very significant moment in terms of literary scholarship. and i will tell you why. here we get to see the growth process of a writer starting out and feeling her way toward the writer she wanted to be, toward the story she wanted to tell. then abandoning it and giving it a more polished expression. the analogy a would make is this. hemingway in his life published only 50 short stories for public consumption. after his death, there was

criticism of hemingway. from a point of literary scholarship, it was exactly the right thing to do. from the point of literary scholarship, parker lee and her family and her lawyer are exactly right to publish this book. it is very good on its own merits. this is in the southern cannon and will remain there along with writers like flannery o'connor and william faulkner, eudora welty. charlie: you can put this book solidly as a piece of southern literature. howell: absolutely. charlie: tell me about harper lee. why did she stop? howell: that's very interesting. i been reading the two best biographies we have about her and they are incomplete, because

she would not give complete access. apparently she was so traumatized by the deluge of fame that hit her in 1960, 1961 when the book came out, and when alan for cool of both the film rights and made it into this magnificently successful film which made her even more famous, she did not like the celebrity and according to the biographies, she formed an almost passionate dislike of newspaper people. she thought they were, as she put it, bad modern practitioners of a formerly honorable profession. we can speculate why she reacted so adversely to a level of adulation that other important writers relished, or at least

learned to tolerate. there has been a lot of speculation about that. some of it completely erroneous. one of the most flagrant being that truman capote, heard your friend, helped her write the book. not true at all. there have been other speculations at she didn't want her personal, private life gone into. it's major industry is to kill a mockingbird. the cafés, boo radley's restaurant. it really provided a boost for a town that doesn't have the agricultural or industrial anchors that many alabama towns have. let me say this about that part of the black belt. many many black and white

families there of the same name. two communities that, while divided by segregation, new one another in the most intimate way, not just in terms of procreation, but in terms of daily life. at that time there was a type of person in that black belt culture let's say cam that the next town over. there was a minister there named kennedy that discovered the african-american population started writing about it in the 1930's. my friend at the university of alabama in birmingham is doing a story about him. he ran into the same problem in the 1960's that atticus finch did. he was much further down the road toward being an

integrationist than atticus finch was but he had that same sense of fairness, and the same sense we are doing evil to these people who have done us no harm and have been at our side for ace injury, but even he could not get quite that last step. charlie: i don't understand what the last step is. howell: i fall back on the simplistic explanation, you have to say in the main, they are right and we are wrong. and that is adverse to the southern personality. you know that from your own experience in north carolina. alabama is the hot center of defiance, even at the expense of self punishment. and harper lee writes about it

in passing in this book. she talks about the blend of the celtic peoples who settled the south and provided the great soldiers of the civil war and world war ii and all the american wars. defiance and a sense of agreement of being looked down upon is very much a part of that psyche. charlie: and it was influenced by reconstruction and all that. howell: yes, but it still exists today. charlie: and on the flip side of that, we are still paying the price for slavery and we just had a brilliant young writer to talk about it that we are still paying the price, and it is deep in the psyche. howell: it is. let me circle back to that recapturing the point about the southern cannon.

william wagner said the only subject for the novelist is the human heart in conflict with itself. and that is what harper lee is saying by giving this permission for this book to be published. atticus finch is a man who exemplifies, in the full southern induration, the human heart in conflict with itself. a man who said my primary principle is equal protection under the law for everyone, and no special privilege for anyone. and yet when his daughter comes home from new york, he tells her , we don't want them in our schools and harper lee is not free of her own prejudices. in both of these books, the picture of white people who are not part of the managerial

affluent class in these small towns are looked down upon is totally worthless, and redeemable rednecks. charlie: great to have you here. howell raines. back in a moment. stay with us.

♪ ♪ (ee-e-e-oh-mum-oh-weh) (hush my darling...) (don't fear my darling...) (the lion sleeps tonight.)

(hush my darling...) man snoring (don't fear my darling...) (the lion sleeps tonight.) woman snoring take the roar out of snore. yet another innovation only at a sleep number store. charlie: charles kaiser is here. his uncle henry was an american soldier who lived with a french

family for year after the liberation of paris. three family siblings were active members of the french resistance. the family never discussed their wartime experiences with anyone for 50 years. his new book, the cost of courage, recalls their story of heroism and sacrifice. please to have the author here at this table. welcome. charles: thank you. charlie: how did you get onto this story, because it is a fascinating story because -- of how the resistance. trolls: i've known them since 1962 and i've known the story since i was a little child, because of my uncle who lived with them right after the liberation in 1944. he lived with them for a year and he told me all the most rheumatic stories he heard from them. he was an amazing storyteller and amazing man. a great labor lawyer. he represented musicians and

bakers. from the time i was a child, whenever we visited friends, this was the family i stayed with, and i fell in love with kristi and when she was 38 and i was 11. and i'm still in love with her. i saw her one month ago in paris and she is only 91 and is in amazing shape. the cost of their courage was so gigantic i don't want to give away part of the book, but their family suffered so much because of the heroism of these three that they never spoke about it among themselves or with their own children or anyone. charlie: these are the three siblings? charles: the three siblings. andré dies in a plane crash in 1978 and jacqueline dies of cancer in the 1990's. christian realizes the story will die with her unless she does something about it. she is above all a woman of duty, so she hired a research assistant from the sorbonne and

force yourself to write 40 pages for her grandchildren. at that point, the door was open. i translated into english right away, and from that moment on she was not eager, but willing to talk about the story. charlie: tell me about the recruitment of entrée. -- of andre. charles: his older brother is your rooted at the end of 1940 by his boss at the finance ministry. andre asked the older brother robert to come into the resistance. he said i don't want to do that, but you talk to my little brother andre and he will come right in. and he did, and he stayed until 1942 when he was told the gestapo was going to arrest him. he gets arrested escapes, gets

arrested, escapes, makes contact with the british consul in madrid who gets him on the airplane to england. in may of 1943, he meets charles de gaulle and tells him he wants to go back to france, when the allied invasion takes place. de gaulle says no, i need you right there in occupied paris. so he flies to -- charlie: so he represents charles de gaulle. charles: he is in charge of coordinating all the resistance movements in the nine northern departments of france, which he does from september 1943 until january 1944, when one of his aides is arrested and leads the gestapo to the secret apartment and the age performs the secret knock. andre goes to the door and there are two gestapo men with guns

pointed at him. they shoot him and will and him but they don't kill him. andre as in his pocket a cyanide pill and he's always said if the germans get me, i'm going to take that pill. but then he said later on, there i was on the floor with light coming out of my stomach, and i said to myself everything is ruined anyway, i'm not going to take that peel. so he goes to the hospital, they sew him up because they want to make him talk. he gets in a room by himself with curtains going up to a skylight, and he's a little out of it after being operated on. he decides he can climb up his curtains to the skylight. he gets halfway up falls to the floor, pops all the stitches and two months later is shipped off to our switch -- auschwitz and amazingly survives three

concentration camps. he becomes a prominent socialist politician and becomes charles de gaulle's minister of education. this survivor of three german concentration camps devotes the rest of his public life to reconciliation between france and germany. charlie: anders -- his relationship to the gall, did he talk about it? charles: he was suspicious as not being sure he was a true democrat. he became a real charles de gaulle fan because in the postwar period they agreed the most important thing for france to do is to lead out to area and they think trolls the only one with the string to do that -- they think charles de gaulle is the only one with the strength to do that. several members of the family not involved in the resistance do not survive.

christian is not there, so they take the people who are there in her place and they are shipped off on the last train to germany and they all die in the camps. three weeks before the end of the war, the last train to germany. hence the name of the book, "the cost of courage to go." i want people to know that the resistance really did exist. people said to meet regularly, was there a french resistance? charlie: why would they say that? charles: there is a knee-jerk reaction that france did not behave well in world war ii. they lost 90,000 troops in the two months they were at war, and they lost 350,000 civilians earing the war. charlie: what percentage of them

were members of the resistance? charles: probably a relatively small number. many of them were killed in retaliation for acts carried out by the resistance. what's important to remember is that in the two days after the normandy invasion, there were 1000 acts of sabotage carried out by the resistant to prevent the germans from being able to reinforce the troops after the invasion. eisenhower says in his memoir how grateful he was and that this was the equivalent of having 15 additional divisions. charlie: it has been of interest in whole value -- of an estimable value. even though de gaulle was a pain in the butt. charles: roosevelt hated him.

churchill was suspicious, but realized how important he was. churchill realized in april 1944 that it will be really important that french troops participate in the liberation of paris. so he sends a message to eisenhower saying please get some french troops over to france, which eisenhower does in july. it's the general who commands the french troops who do liberate paris in august. de gaulle comes in and gives the speech at that moment saying the real france has always in the resist french. charlie: and who were the resistance members that we later new? charles: metta rant was in the resistance, although he had a previous life when he was on the other side.

he was one of the most famous people who had been in the resistance. by 1978 he was the mayor of a small town on the border with germany and was chief spokesman of the socialist party on economic affairs, and probably poised to become the first socialist finance minister afterworld or two, but he dies in a plane crash two years before he becomes finance minister. charlie: what are the most vivid memories of christie andane? i said it must've been so romantic to be in the resistance. she looked at me like i was out of my mind and said it was not romantic. having to be suspicious of everyone you knew all the time. it was of course the most intense experience of her life and after the liberation, she does feel the void. charlie: when you say to them

why did they do it? what did she say? charles: she said it was obvious. she comes from a family of civil servants three centuries. she is brought up above all to be a patriot. she comes back to paris after the occupation begins and sees these german soldiers and says this is wrong. charlie: the book is called "the cost of current" by charles kaiser. thank you for joining us. see you next time. ♪

♪ angie: u.s. stocks post the longest losing streak since january after china's dramatic plunge. oversupply and falling demand returning to a bear market as producers as well the oil glut. baidu slumps after second quarter earnings fall. welcome to first up coming live from bloomberg's asia headquarters in hong kong. good morning. i'm even ony