room. kevin connors here to keep you current. we saw a different time of pedro martinez this week. he talked about his time in new york and said i did not perform the way i wanted to with the mets. shine had a chance to show he still had it. all sorts of run support before he even took the mound. jason werth off perez. bottom nine brad lidge trying to finish it off. mets down two, go for the double steal on the hit and run. and jeff francoeur lines into the unassisted triple play. check out eric rutcliff.

he tags out daniel murphy to end it. has jerry manuel's team seen it all this season in phillies win by a 9-7. lost in all this, pedro martinez, who picks up his second win of the season for the philadelphia phillies, allows four earned runs over sex innings, five strikeouts in this game. oliver perez takes the loss. he did not get out of the first inning. eric turns the first unassisted triple play to end the game since 1927. martinez now on his return to the big apple. >> every game is the same to a player like me. i'm trying to enjoy and take advantage of everything that happens out there and getting a

win and getting to come back to new york makes it really special. you know, get out there and deal with the fans and see how much appreciation they show for you. it makes it even more exciting but i'm very thankful for the fans and the reception that they gave me and to actually get away with a win on a very hard day makes it even sweeter. >> pedro martinez beats his former team for the first time since 1997. he improves to 11-3 against the mets overall. his 2.73 era again the mets his third lowest against any national league opponent. >> rangers and rays. scott feldman eyeing his 13th win. had it working all day getting jason bartlett in the first. later in the inning carl

crawford swinging for strike three, bottom two. punches out b.j. upton. bottom three, there goes dave kappler. bottom four, longoria can't even muster a swing. feldman picks up his 13th win of the season. the rangers win by a final of 4-0. rangers snap a 3-game losing skid. it's their seventh shutout this season. sixth time the rays have been shut out. david price drops to 6-6 on the year. >> jays home to the a.l. west leading angels who were looking to pad their six and a half game lead approximately trevor bell after picking up his first major league win last time out suffers his first major league loss this time out. venon wells scores overbay. bases clearing double down the line.

mike scioscia says as he learning some things about how stuff plays out in the big leagues, he'll get a little deeper in the games. the blue jays win by a final of 8-3. travis snider, who was recently recalled go 3-3. ricky romero, outstanding rookie, picks up his sixth win of the season. >> giambi, who was released earlier by the as was hitting .193 before let go back on august 7th could join the rockies when the roster expands in september. the giants a two-run lead on the rockies. tim lincecum took a no-hitter in the sixth inning in this one. rockies lead over the giants was two games in the nl wildcard

entering play. edgar enteria with a home run, his first since late april. >> marlins-braves. both teams four games back in the nl wildcar entering the day. it's john bake -- baker flying out to end it. mccann, it's his first home run over the last four games. that tie as career high for runs batted in. braves now 8 games over .500. >> cubs and dodgers in the top

of the fourth inning. carmona leading the indians today. ken griffey, jr., 24th career home run. he's now 36 shy of willie mays for fourth on the all-time list. bottom four, johnny peralta gets into one. that put the indians back on top 2-1. from there carmona would settle in. let's go rob johnson swinging to end the eighth. the indians go on to win by a final of 6-1. third win of the season for carmona but just his first win at home this season. hernandez drops to 123-5. he strikes out six over six innings. still to come on espnews, a

thrilling finish at the little league world series. you'll want to stick around to see the action. and we'll preview tonight's sunday night baseball matchup, one of the great rivalries in

they are two different breeds. and new york it is look at all of the authors you can run into and they have their own places

for drinking and so on, and in michigan and places like that it is just serious guys being attacked by goons hired by the company. i still carry my biases. >> would you still call yourself a communist today? >> nope. >> would you call yourself now? >> a man without a movement who is seeking a movement. no, it comes down to being -- it is a focus which helps in my case, but as i said i have a very careful siv to go through in my mind so i try not to take a position that is only one way. >> was it a mistake to be a communist? >> no, i don't think so. i don't know of any communist i

know of who hurt anybody. there were plenty of communists who went off to fight wars in spain against fascism and so on. i think all of that was perfectly healthy. >> i would like -- >> i will say this; what went on in russia i blame the communist leadership, the uppy-ups. i blame them for having killed a very beautiful idea, well, that need much more different approaches and so on. but i believe they killed for a long period. i don't think that it will ever be over. there will always be some people that are sensitive to people who don't have and so on. >> you have a picture of jimmy carter with a violin.

do you remember that one? >> i remember that one but i did so many of carter that i can't place why i remember it. >> what did you think of him? there is one of him as alfred newman. >> i think that is something i think i regret because he is far from really -- it's far from how i see him now. but at the time, i really was out to question -- there was something that he did that worried me because it was kind l.i.e.. he was leading the airplane that carried him, it had landed. he would come to the stairs to leave it. he will hold up to bags, one in each hand, and when i asked somebody who was very close to him, i think it was mr. jordan who died recently, i said what

was in those bags, because it was a show of strength and he said nothing. that's when i -- that was an insult to my intelligence, what little there was left. >> you have a number of drawings of ronald reagan. what do you think of reagan? >> the duty. you can't deny his good looks but you can't deny just about everything else. i still believe his hair was colored by staining rather than normal, but i oppose almost basically everything he stood for. >> i see a picture of alan greenspan. >> yeah. i have a very full knowledge there. whatever knowledge i picked up was out of whatever the article

was, and you probably read it in "the new york times" as well. there is several times when that would have been where i knew i could count by more than one respectable issue, and helped give me a little balance has to, you know, how i treated certain people. >> there are a number of different pages where you have supreme court nominees, nixon -- >> these administrations came loaded with their teammates. that's being very fair to them, teammates. i mean, there was much worse than that. >> what do you think is the affect of cartoons on politics in general? is there an influence? >> i wouldn't call it an influence on less by chance, and

it's a very important chance it does come up that you confirm for a certain large mass of people that you confirm their stand on a particular instance. on vietnam i think not just me but ed sorrell, joez phiffer, i hope i'm not putting him in prison, there were others, steve rothman, a group of political cartoonists that moved toward deeper satire in a sense. what the date is confirmed for the intelligentsia, i am not sure which pronunciation, but they confirm for that eckert the profs, the intellectuals now take a clear stand and a clear

stand was leading young people and the young people came back with affirmation of what they were saying so they did influence but it had to have a movement toward something in the first place. >> these drawings that you did, you told me earlier that this is where is this the desk? >> this is the desk because it is a certain height. i never could figure out why i only felt comfortable here. but in painting i worked with things on my lap because it was light weight and something you carry around. but here i needed to change an ankle or something that would increase my control and that would help. >> what kind of pain did you use? i see one sitting there. is that what you used?

>> no, that's -- let me check that out. what i liked about it was this was the focal point of the pan was spread a certain degree so that the point got lighter and that wasn't good for control in what i was doing and the amount of lines that had to be parallel to each other and another angle to change to get the darkening element. every time you put down a coating of lines in a direction it begins to cross and diman the amount of white in a given area and that adds up to the hair. that's always the basic. >> when you were doing one of these drawings do you start out with an under jogging or do you work in pencil? >> i work in pencil, as did michelangelo and all of the

great draftsman in one form or another always had to seek out a softer and more generalized image first and then it could carry on further. >> and i understand it or not really doing those line drawings any more? you're having problems with your eyes? >> i have now got sevier problems with my eyes. one eye is dead but for the outside fringe, and the other is i would say about 50-60% useful. i see things generally by ultimately see the larger cavities of the form. i don't see the colors of your eyes, i don't see a lot of things i used to see much more clearly. so i am finding it very difficult to get back. and i am trying various things

but mostly i'm trying pencil. >> so door not doing the political drawings any more? >> not for awhile. nobody is calling. >> at the end of the book they have the 2008 campaign, all the different candidates, and the final two drawings of mccain and obama. >> that was the last the draw when i did actually was obama in pencil and i think besides his natural good looks, he's got a good mind beyond that he formulates. he sees it and takes a form as he presents. there is a great deal of poet form in the sense of what he has to say. not only do i have something to say, but how i say has a form so

much like listening to a poet. my kind of guy. >> could you briefly tell how this book came about? >> well, i had done huge numbers of drawings and frequently the best part of the thing is i have done -- i wasn't done with somebody just because i had made a drawing of him. i was to find at least four or five occasions when that person was being questioned in an article full of written material about the act of that person and so on. so i got many chances if i didn't feel i got quality that was significant the first time, i had chances to do it over and over and over. >> i'm going to ask you about historical figures quickly some people can see the drawings you've made. abraham lincoln.

>> skinny. i made fun of his size. i made fun of his sad look. there's sort of a sad expression always. but not really enough. i would like three more chances. for instance, if i drew freud, if i did a drawing of freud, and i did to at least five or six, and tt always gave me a feeling that i had said what i wanted to say and wasn't i lucky really to be allowed mike holden road, yellow brick road, whenever it was, was all there. i was given all of this material that no other cartoonist ever got. but it's that range the new york

review has put in. >> the first one of course is george washington. >> i'm tired of looking at him in the middle of a dollar and not getting my value. >> ulysses s. grant. >> very complex man, both with personal habits. and they played out in relation to his handling of people that he was counting on, generals. although he is very far from our present president, nevertheless he was presented with our me problems that i think i am seeing again and again. >> theodore roosevelt. >> bully. i have never really understood what the attraction was this man had, but there was a kind of

social justice choice that he made against all the developing monster industries and so on, one he controls, and that was a pro democratic stance. >> a lot of bill clinton. there is one with my voice and his back -- knives in his back. >> wherever he stepped there was a question, whatever he said and did. and he was extremely open to fun. he was what you hope for in any president. a human being that made mistakes but was brilliant about other things and that balance, he balanced on his own. >> monica berlinski -- lewinski

with a cigar. >> that is unfortunate. >> new gingrich on the backside of an elephant. >> well, i mean, he was associated with the grand old party elephant, and i think he was talking out of the other side of his mouth too often. there was this thing -- he was a snake oil salesman, although he had gotten bitten. >> bill clinton with an elephant nose. >> because i think there were hidden aspects in his political point of view and they were frequently just as far right as any republican might go. so it was like saying he's touched by a pair of noses. >> cheney with puppet strings and george bush. >> i think that's self-explanatory.

he controls mr. bush. >> the final page you have a self portrait. have you done many of those? >> a few. usually trying to balance the idea that if i made fun of your notes what do you think i'm going to say about mine. and there is for people to say wow. >> when did you first get interested in drawing cartoons? >> i think around ten or 11. i always true, scribbled and so on, but it began to coalesce into a thing, a form because i became aware of reading things, comics in the newspapers and so on. >> what was your first paid job as an artist? >> to decorate a window. a company that had artists produced strangely illustrative

kinds of humor, figures doing strange things but always relative to a window display. and each one would bring a certain income. >> how about your first political art? can you remember why you did first? >> that is in my mind more than anything else. i come out with a very left wing home and family, and there were always pamphlets with illustrations of huge, handsome, powerful looking workers, versus fact all of capitalists and somehow the workers always won in that battle but not in life, therefore they needed more pamphlets. >> i have read that you

appreciate and or in the tradition of thomas nast. is that true and if so, who was he? >> it is not true. >> sorry. >> in a peculiar way it is true because in a resemblance anybody working with a fine pen are going to come up with solutions very similar. in my case i was actually much more influenced by the english caricatures that i would see in punch magazine or any number of places they got printed. i would look for them, and people in england and people like dora and france led me to a certain amount of imitation of their styles because actually they were using pens and ink.

domie for instance didn't use pencils. so i ended up thinking a solution to my diseased eye is better meet with pencil where you can make a mistake and erase as compared to the pens and ink which one mistake with pens and ink you have to start all over. >> can you remember the first time you drew a president? >> no, i don't remember which one of them. just take a chance it would have been roosevelt. >> i understand you actually met roosevelt. could you tell the story? >> i did. one of the lucky ones. i lived around the corner from ebbets field, which was having. and at one point he made a visit to brooklyn during one of his campaigns. they opened up a metal door that

allowed large trucks to come in and in came his car and opened -- an open car with him leaning back among the full bid tops and shaking hands as they went around and around ebbets field with a ton of kids running around and so on. but i evidently was faster than i can recall. i reached out of hand, he reached out of hand and to this day my right hand is a little stronger and a little older than my left hand. >> you have drawn fdr many times. there is some in the book. >> there are several in the book. i go after -- i use the biographical material in the articles, and whether it was roosevelt on the question of black relationships and which

jim-crow is sitting on his arm, if there is negative things on my hero's i go after them, too. and if there is something where i am using my biases i will try to deal with it in a fairly judgmental but fair kind of way. >> let me ask you about the method for these drawings you did for the book review. how did it work? what would happen? how would you get an assignment and how would you do it from beginning to end? >> well, the new york review has a strange time table for when the issues come out. but i found that my own rhythm sending me things usually on a thursday they began they would send me the articles and with

three or four photographs there was a couple of people, there were a couple of people that were very aware and knowledgeable about the collection of images, photographs and so on in the public library on 42nd street. and they went after that and within an hour or 2i had enough for at least reach drawings and started drawing on them. usually i was ready to deliver them back on friday but may be on saturday for sure by monday or tuesday. it varied according to how many, how many people with dark hair. i loved drawling blondes, not for the rest of them but the fact the crosshatching to make an even coating of dark hair is too much. what you're seeing here in the

hallway is the beginnings of my own museum. i am saying that because i like my work. if i like to i generally like a good painting, and usually they are small in scale, but hopefully big an impact or quality. and i put them where i can see them and i changed them regularly. >> swindel wholley these are all yours? >> bald all. that is persian and was a gift from somebody and this is my father in his shop and that shop gave me a lot of paintings because it was a small garment shop with a maximum of ten or 15 people, heating systems for water so that the pressers could

do their pressing. >> this is my wife, catherine in watercolor which as you can see is beginning to be affected by the weather. today is a wet day evidently. if you look at that lampshades ec than caving in and folding you know there is a lot of moisture. this is one of these days in painting when i feel and see the elements what it must have been like in a battle scene. the battle was between age and youth. the battle is between male and female. the battle is especially the kids showing a kind of angry who rushed to get in the water and falling water in somebody's face. there is a kind of element that

takes place when there is a certain kind of heat, and my intention here is to translate that likeness. i have spent so much time looking at great paintings of battles by the old masters that it translates for me some of that feeling. >> this is another painting of my father at work in his shop. to him, this was the work of art. his shot was his studio and he was somebody who knew how to do everything in the shop. he could be a pattern maker, he could be somebody stitching something, somebody finished some of -- he just took over and delegated things to others but basically he was creating something always and i didn't understand that about that situation until much later in

life. >> so this is what you are working on right now. >> yes, this is an attempt at getting what i call the tunnell that takes place underwater, and it will be a lot of i hope to clarify most of that, but it will take awhile to do. >> how do you like working with leal paynter as compared to the line drawings you have on? >> i prefer the oil painting. oil painting is from her life and caricatures are from photographs and that idea of putting the real people into positions and enactment of a day in the water or something that's more sinister perhaps the people

struggling for a little space to enjoy. i enjoy the idea that i might be able to touch the internal feelings of people at work or play, people playing an instrument, people at a ball game. there is a painting i did with that intention in mind. >> where is that? >> that is in my mind always something that of its field because so much of my own in the time was invested in trying to catch a ball. >> did you ever catch one? >> no. this is a painting of what i called the essentials order in a given job. that presser aside from his present duties also knows the workers who are the fastest, who are the slowest and it affects

the little bundle he will offer to one and there is always a certain amount of argument which he settles. >> over here you said you have a picture of your son? >> yes what was interesting is he was taking the steam in. he watched me paint but he never said or did anything until he was about 25 colin 26. at that point he said i think i would like to paint, came to my sketch group and has been very successful at getting from a very complex material, gaining a control over it and frequently turning out very small pieces, but very exciting in the sense of the kind of color, the kind of brush work and enjoy and yourself, and julian is very important. if there is nothing else but

your enjoyment you have got a lot. >> this is the room i look at what i have brought and there they are. my own family. they are always here and they always lead to a discussion when anybody is introduced to them because they like naming names and saying i know i saw that i saw him with her and they were walking down that trail, and whatever. that's the beauty of what the new york review has put across is this incredible production of people and greet authors, agreed to everything.

>> how did you select the ones to be on a low wall here? >> basically when i like the drawing. i don't see these as personalities. i see these as good or bad and drawings are drawings with interesting implications, but that is about it. >> so the one standing out there think you mentioned before was rasputin. >> yeah. rasputin, the article was fascinating. it talked about the fact tha he made it with so many women but that he also stank. he smelled from body odor, and the idea of this whole nation waiting in line to be rejected by him through the smell alone. but each one of these offered

something. >> queen victoria? >> that was an article on slapng and kicking people a bang on the backside. >> i think it had something to do with treatment, physical treatment of prisoners, something like that. i mean, you know, i go back to that may have been done 20 or 30 years ago so i don't remember all the reasons behind each one of them. >> woody allen? >> what he presented a problem because he was a character, self-made caricature, and then along came somebody and looked like he was taking advantage of this for himself, like me, and then he felt that he had to say something negative so he said you didn't get my hair, and

that's where we are. you didn't get my hair. what can you say to somebody who said that? yes, i got it over the year. a very few people ask me not to call them, but i could not turn down a trawling from my editors because they were also friends of the person frequently so that lillian hellman for instance actually came over to me at a party and said don't do me. and i had to do it. there is a peculiar thing that took place with the drawings. in the beginning people would look at them and be very angry and overseeing themselves, seemingly made fun of, but as the number increased as we got to a certain point i couldn't tell you at which point it was,

but suddenly a reversal took place. now if you didn't get into the levine circle of production, and you're not important. there began to beat this kind of thing out, you know, you're going to do me? kind of situation. >> did you bump into these people at parties and things? >> very, very little. once or twice. i didn't get -- i wasn't part of the i guess it was because they were going to have their party. i was stuck away in brooklyn like a second country. i actually believe brooklyn should be considered and not so the connection with manhattan. >> final question before i leave. all of these of original drawings of doors, what's going to happen to them? where are they? >> i'm going to leave them to my

children, and hope they can't use them -- hope they can use them and give them to people who've never seen the originals, a new set of likes that suggest new ideas. i'm hoping that will pop everywhere. >> thank you very much for allowing book tv into your house. >> thank you. it's my pleasure. >> david ..'s drawings and paintings are part of permanent collections at the metropolitan museum new york. the library of congress, cleveland museum, national portrait connection, and england's national portrait gallery and the pierpont morgan library in new york. to learn more about david levine, visit his website,

www.davidlevineare.com. in north carolina to learn how the c-span abraham lincoln book was assembled. >> hello, i would like to welcome you to linton north carolina. a complete book and journal manufacturing company. today we are going to see the live production, the life

binding of the c-span book, abraham lincoln title. on a weekly basis we produce 300,000 copies all for this line. our work make consists of books as well as journals. technology has actually increased the throughput of the product itself, in the old days we used to have to skid down product, of all lot by hand jacks. today, being and in line operation, books never touch the ground from the minute the signature is placed in the pocket on till the actable book leaves the machine importance of the other end which you will see throughout this process. a book is composed of signatures. this is a signature we actually produced here in our facility. we actually did the printing and folding. as you can see this runs from page 2372 page 260. we will combine all of the signatures in order to make a

complete book. today, the signatures that we are running are composed of 48 page signatures and the customer signature is 16 pages. the length of the signature is determined on what press we actually print on and also the number of signatures contained in the book. these bundles of signatures right here are actually produced off of one of our web presses. this lot of signatures contains approximately 300 signatures. this is the first section, the first 48 pages to the abraham lincoln title. on the floor you see all the signatures for this particular title. the signatures are printed and folded and bumbled as you can see right here. from this point, the bundled signatures are moved over to the finish line. this is our high-speed gathering unit.

the gathering unit consists of 21 pockets plus a station as you can see each signature to the book including the customer furnished color signature gets its own individual pocket. these pockets will complete each signature of the book into proper page sequence. from that point, they will move into the actual buying process itself. we are at the end of the gathering unit, and at this point we actually have a gathered book lot that consists of all the signatures of the book, and as you can see it's all in sequential order. it will actually start from the half title page to the end of the book. from this point, the gathered the clock will travel and to our binding unit. as you can see the wind through the raceway of the binder the

gathered book blocks are now going into the buy and head of the binder itself. these signatures -- we have a signature detection system that is basically cameras set up on each pocket and the cameras read to make certain that the correct signature is placed in the right pocket. if there is any type of failure with the system it will take out the bad book block into the reject date and remove the bad book from the binder itself. as the books come out of the gathering unit they are now making their way to the race field binder. this right here is and in gwined tipper gore aide puts the sheets into the front and back of the book look. they come down and right here

with hot glue guns. when they actually come underneath the hot glue gun a bead of glue is placed at the end of each sheet. this monitor right here actually shows the wrong speed, it shows the number of units that we have produced on its particular job, and it also will give an indication if there is any machine stops. once inside the binder they will go over the milling station and will prepare the spine of the book for an application of hot milk adhesive. here you can see the application of a non-pigmented product. the book blocks you see coming

down the conveyor have been through the milling station to the cooling station, and they've also been capped with kraft paper. they are heading directly from the race a binder to the cooling tower that will cool off the books down to before they are trimmed to read the books will travel through the cooling tower and it gives the books and opportunity for the adhesive to cool down before it goes into the high-speed trimmer. here you can see the book bloc's leading the cooling tower. at this point they are traveling down a high-speed conveyor heading into the hd trimmer. infil hd trimmer they will be trimmed before they head in line to the compact case in line.

here the books are being dropped into a hopper where they are being fed to books at a time where they will be trimmed three sides with high-speed steel negative. as the book blocks leave the high-speed trimmer they are placed in this factor that will direct the book blocks to the compact high-speed case in line. here is the list of four. they will go through this unit here and become destacked where one book at the time is fed into the line.

here is the books of leaving the heat tunnell traveling into the case and line. at this point, we are actually producing 60 books per minute. the books are now traveling through the line where they will actually have a round put into them. they will go through the hot milling unit. when the books travel through the unit we will actually apply gauze, headband and back lining material to the book bloc itself. the purpose of the gauze is to add strength to the spine of the book. this is the head and application for applying headbands to both the head and tail, the top and bottom of the book. as the book block travels

through the case in the line it will be married up with the cases. this here is the actual case for the abraham lincoln title. here the book blocks are leaving the actual end of the machine before they go to the building and a unit. the building in the unit is where they will be placed on the spine of the book. this is books leaving our building in unit. this is where the joint is actually formed on the case of the book. this is a joint of the book right here. and this is a headband material of the book itself. we saw in an earlier application

the headband was applied to both the top and the bottom of the book. the books or quality inspected throughout the course of the run for any problem that may have been encountered throughout the binding process. you can see where you have your in the sheet, front and back and then you turn to your half title page. as the books leave or building in unit, they now travel into the high-speed dustin shack machine. as you can see, books at this point do not have a dust jackets on domestic travel into the machine. the dust jackets will now be applied automatically. this is a complete in line

operation. with the line running consistent the line runs 60 books per minute so we are producing 3600 books per hour.

>> and where are they going from there? >> actually they are going to the perseus distribution warehouse in jackson tennessee. >> c-span's abraham lincoln great american historians of the were 16th president on sale now at your favorite book seller or order online with a special discount. find out more at c-span.org/lincolnbook. c-span's directing royalties from the sale of this book to the c-span education foundation which creates teaching materials for middle and high school teachers. this summer in booktv is asking what are you reading? >> my name is michelle bachmann

from minnesota's sixth congressional district. i have to great books i am working on right now for the summer and early summer and i will switch and do something leader but the first book is by dr. mark levin, constitutional scholar and it's called liberty and tyranny. it's been of the new times best-seller list nine out of the last ten weeks. it's now sold over a million copies, and it's essentially a treatise on why conservatives believe what they believe. he goes through a number of issues. it's a fabulous book. i've read it once, highlighted it. it's all dolled year, the pages, i've written notes on the margins, i am quoting dr. mark levin's book on liberty and tyranny everywhere i go and i in the need to encourage people to read it. i am going through a second time taking more notes on it. i'm on another book i have heard several times speak about the book and it is the forgotten man

by amity shlaes. it is so timely because she is writing the history of the hoover years of fdr and the great depression, and the forgotten man is the american taxpayer who is paying for all of the expense of building up the welfare state and so it is a fascinating story to see how the american economy is taking a real parallel today in 20 online with the same of course you might say action that was taken back in the great depression. so this is very instructive for members of congress right now, very pertinent to what we are doing because if we are going to apply the principles of big government interventionism we see how it played out in the 1930's and it proved to actually prolong the depression of rather than shorten depression so the forgotten man is a great plus we have been able to hear from her personally. we had dr. mark levin last year speaking at a luncheon and he had not yet written liberty and

tyranny but since the book liberty and tyranny there has been so much excitement in washington about that book and i am hopeful that dr. mark levin will come back and allow last appeal to hear from him personally. but that's the number-one book i encourage all americans to read, liberty and tierney and also amity shlaes's the forgotten man. >> to see more summer reading lists and other program information visit our web site at booktv.org. alex storozynski, executive director and president of the thank kosciusko foundation recounts kosciusko who became an engineer in the army. he fortified philadelphia and de b