we look at religion, we are the most church-going people of any affluent nation, and we have the highest package are -- percentage of people who believe in god. so we tell each other, you know, how can that be in so our faith doesn't even, i mean, our extraordinary faith doesn't solve this problem. and if you think the people who are doing the murders don't think of themselves as god ri, most -- godly, most of them do. they're god-fearing people who think that person deserves to die. you'll even read in these murder claims, you know, god told me, you know, got what he deserved. well, that doesn't work. because when you, when you have that anger there, you know that people use their religion the wrong way or even ignore it. ..

and she thought that ohio paid more attention to really sports, even at that time, then they did recognizing the writers, musicians, and artists. especially writers to work so hard, it gets a little attention , and really contribute so much to our world today and leave such a great legacy.

the history of a mile. the cultural history. poetry. literature, children's books. science fiction as well as non-fiction. a very eclectic collection of the popular reading material that any one time. thousands of great authors. some may be very familiar to people, although they may not realize there from ohio, and others i would never imagine. for example, lisa hughes. most people see him as from chicago or new york. but langston did move to a high when he was in high school. he finished four years of a school here in cleveland, actually. and one of the letters that he wrote talks about him going to school and graduate from central

high school in cleveland. he came back to ohio and he wrote @booktv actually, he wrote [indiscernible] ball he was staying a hotel in cleveland. he considered himself in a higher rider. when the postage stamp that was tickets in a few years ago was launched the national launch was in cleveland , the ohio launch this year in ohio. a wonderful women's history and women's suffrage collection. one of the ohio people that actually ran for president before women had the right to go was victoria will. victoria was quite a character. she ran for president in 1873. her running mate was frederick

douglass. she was a woman way ahead of her time. people often refer to her even as mrs. c. she believed women should have equal rights. she was the first -- she and her sister were the first women stockbrokers in this country. also the first woman to own a newspaper. pour in the small town in ohio. her father was sort of a shyster refer to him as the snake or a salesman. family was actually ran out of town. they ended up moving around, cincinnati for a number of years she was married off at age 14, divorced, and then remarried. in her later years she did leave this country and moved to england where she was very

honored and appreciated. but at that point in time there were lots of mediums and disruption. she was a free left canada for crying aloud. that was pretty radical for her dead. >> what is the importance of having a library like this? >> well, i think there are several important reasons. one, et records what is happening in our time. it preserves the work of a favorite author from one generation to another. this day and age, well, the book will last. will everything go electronic? i don't think some. i think there will always be a place for a paper book. but when you're looking at an electronic, so much can be lost. one of the fears i have as a

look at our collection is manuscripts we have show the writing process. now information is exchanged between a publisher and an author electronically. so there is no record. the same is true with photographs. we have photographed a 50, 60, 70 years old in perfect condition. now we're getting, digital images. we don't have the means of saving that. i'm afraid some of those who've lost. >> for more permission on book tv recent visit to columbus ohio and other cities on c-span local content via coulture visit c-span.org / local content. this week a division of the bush to the book publisher penguin announced they are moving of the release date of the first and account.

the pen name for a member of seal team six describes a planning the went to the rate in the evening of the attack that was resulting in the debt of osama bin laden in pakistan. the book, no easy day, a firsthand account of the mission that killed osama bin laden will be published this coming tuesday september 4th. already ranked number one in booksellers on amazon. in response to the account the pentagon has threatened legal action claiming that the author is in violation of nondisclosure agreements that assigned. lawyer and publisher plans to proceed with the release of the book. for more information about the story and other book industry is visit our website, booktv.org. in 1992 bill mandel and his family relocated from his hollywood home to heart mountain relocation center, a japanese-american internment camp in wyoming. he took numerous photographs and

documented the day-to-day life of a japanese-american who sell there. presented photographs from the late bill members collection while speaking in polyamine. this is about 45 minutes. [applause] >> thank you and good afternoon. i want you to take a minute and conjure up in your mind an image of world war ii. i make a couple of suggestions. you might try picturing a burning u.s. warship at pearl harbor. if you would rather do a happier image, how about a man kissing a woman leaning over and kissing a woman in times square in new york at the victory -- on victory day. or maybe you prefer politics.

churchill, stalin, and roosevelt sitting down together. that image. maybe you would rather think of something from the america of that era roughly. maybe a little bit earlier. the great depression. try to get an image in your mind of the great depression. if you're having trouble think of the tired worried licking their mother staring off into the distance with our ragamuffin child leaning on each shoulder. can you find that famous iconic image in your mind? the economic photographed by dorothy that we have come to call my grandmother that has come to symbolize the great depression. it is very likely, as i run this with you just now that the images you conjured up in your mind have been in black-and-white, very, very

likely. now i would like to do the same exercise, but think about the imprisonment of japanese-americans or two. try to find in your mind an image that represents the imprisonment of japanese-americans during the war. so what you picturing to back does it look like this? a bunch of young japanese-american gross income on us dancing cack this is a photograph taken by a government photographer at their granada relocation center also known as a mushy and eastern colorado and august of 1943. so if this isn't what you had in mind, what is different? well, it is a father, as i said, young american citizens dancing, celebrating the spirits of their ancestors in the summertime buddhist ritual.

does it surprise you that japanese-americans would have engaged in such open displays of japanese culture while detained in what was basically a prison camp? oh, maybe it was so open because after all it was night. this was happening in night. so there is a surreptitious quality to this. well, this is the photograph here that hartman, and it was taken either in july of 1943 or july of 1944. we cannot be sure which. where are the other. it's a time. nothing suspicious about it, nothing surreptitious about it. the barracks in the background, you can see that it is taking place in the open boat space within the residential area of the cab itself. says check this image out.

there we go. so there is something else that a special about this image. it is in color. it is actually in color. brilliant, beautiful color. it was taken not by government photographer, by one of the internees and can't. so just check that out. and then with that. you can see i the way which out by the photographer. i wanted to just take a moment and ask you what the impact is and i love to your couple of comments from you. what is the impact of seeing this historical moment in color

rather than in black-and-white. could couple of you may be put into words what the difference might be of seeing it in color as opposed to black-and-white? >> i don't know if i can put it into words, but i saw the color. [applause] >> any other reaction? color. >> i think in color it makes this seem a little more present time. the black-and-white it's, you have that sense that have been a while ago. doesn't have quite the effect. >> the suggestion is there something about black and white, at least in your licking historical photographs, something u.s. seem black-and-white the march of history or as color makes it feel a more current. any other suggestions? >> happiness.

>> very interesting. it gives you a feeling of happiness and that everything is fine. >> it looks -- black-and-white. >> dangerous. >> dark verses real. >> starts versus real. >> spontaneous versus staged. definitely the black-and-white propaganda images replaced by something that seems authentic. at that moment. >> wonderful suggestions. that's a lot of these because i think it's an important team of this project. this book called colors of confinement of which this is a presentation. to think about not just the episode that we are treating, the incarceration of japanese-americans during world war ii, but also the way we interact with it, the way we see

it, and the way these representations communicate meaning tests. so let me say a few things. i want to volunteer a few of my own observations about what is striking about this photograph. one of them is just the beauty of the subject. the beauty of the subject, and i'm not just talking about their kimonos, which are gorgeous. i'm talking about their energy. there is a beautiful energy to these and women. the light and humor. the lighting is not perfect, but the woman in the red kimono with the flowers, the white flowers this turns to the left in a look of what can only be described as greed -- gleeful amusement. obviously something very funny has just been said in this photograph was snapped in this group of them women. let's been the moment on that. there is a playfulness in the

interactions in this group. this is unusual. will we are accustomed to seeing is images of uranus, images of bleakness. the depictions that on their surface communicate in justice. if you're familiar with that, the very famous photograph of three boys standing and looking across wistfully across the barbed wire fence. a black-and-white image. that is the classic image of japanese american incarceration. this is something quite different. notice the contrast between the beauty of the subject and the bleakness of the backdrop. the drying parched ground that they're standing on, the jury paper barracks that they lived in, the chimney of the communal mess hall where they ate their meals. notice, again, something that i suggested in the earlier

photographs, the black-and-white ones, the openness of japanese culture. this is something we are very unaccustomed to in the imagery of the sarah. but -- and this is hard to see in this light. don't mess -- look at the young lady in the purple facing justice to the left of a woman who is laughing, smiling. she is wearing saddle shoes. you look down at the bottom. she has on saddle shoes. and so this is not a defection only have japanese culture. there is something culturally complicated going on here given the ages of these subjects, we can be certain that if we could listen in on their conversation they would be speaking the unaccented american english. so there is something culturally complicated that is being documented here. i love this photograph.

this one shows that cultural blend that i'm talking about. really beautiful and humorous way. same event. the summertime buddhist ritual of celebration of ancestors. we have a young woman dancing. over her right shoulder a man with a headband is dancing. over her left shoulder is someone, a man or woman, who has dressed him or herself up as some kind of fanciful bird or dragon. d.c. what they used to make the customer? they used cereal boxes from limassol kitchen. the white plate, and front. a rash as the box i certainly have never seen it. something called weed an ax. does anybody remember? something actually.

layers of cultural complexity here because you have a japanese american dancer engaging in a tap -- japanese dance and an american prison camp making a costume out of boxes of american cereal, and the american cereal that they chose, of course, is risk as these which is a concoction based on the staple of the japanese diet, rice. so there is one other thing about this photograph that is a little surprising. besides the fact that there are in color, besides the fact that they showed japanese cultural activities rather than american culture like to these, but i want to give you a hand. it's not in the frame. it's not in the frame. there is something a little bit startling about this photograph. any ideas of what i might be referring to?

>> people were allowed to bring luggage with them. there were allowed then. the security involved. >> exactly. the thing that i am alluding to is that what is outside the frame is a photographer. somebody was taking this photograph with a camera, and he was a japanese american prisoner at this camp. so that is worth noting. we are usually led to believe, and it was true at certain points that cameras were contraband. so why would a japanese-american have had a camera? and why would he have felt comfortable shooting photographs out of the open like this to back under the eyes of that camps administration. localize salem more about that letter, but for right november, somebody is taking these photographs. remember, there's a lot more going on in this place of confinement them what you see in

these photographs. the photographs are a snapshot of the subject, but there is an entire world that surrounds the subject. so what i would like to do with you for a little while today is share with you, introduce you to this very rare collection of kodachrome color photographs of ordinary life here, ordinary life inside the camp. hardbound. i also want to introduce you to a photographer and his family and give you some sense of what was going on outside of the viewfinder, outside of the camera from. this is the photographer. born in riverside california in 1908. american citizen, of course. born in the united states and therefore of the 14th amendment a citizen by birth. he went to hollywood as : a class of 1921 at hollywood high.

went off to the frank william trade school to study to be in on a mechanic. he graduated in 1923. he opened a brush in hollywood. he liked model race cars and he love photography. he was an amateur photographer. he also developed an alias for himself that he used to times. his name was bill. he developed a french version of his name that he would use. he would refer to himself as pierre mumbled. he would actually change the spelling of the last name so that it would be in may and, not in a indio, manbeaux. and there is actually a photograph in his collection of his spirit. he has built a little four year with plywood in front of the door and arching artistically across this little entryway is

the name mambo right here. so he was a bit of a character, no question about it. this is a lot of his family. in the middle, to all the folks in the middle. on the left is his father-in-law next to him are his wife. his mother-in-law. they were both parents from japan. trained as a mechanical jasmine. but a number of different jobs and he came to the united states and ultimately took up farming in the mid 1920's in norwalk california southeast of downtown los angeles. the. [indiscernible] had three children. on the ride is their youngest child, that's eunice. she was about 16 or 17 in this

photograph. on the other in this very. that on the left as the photographers wife. and then in french is the little grandson bill and mary some. he was called billy and the family. billy came along in the early 1940. this is probably shot sometime in 1943, so he is about three years of there. his little toy airplane. mary went to the franco against trade school where she met bill pier is studying to become a seamstress. became a seamstress. she did custom designed for theater companies among other jobs. there was a third child, boy by 1941, the picture in this

photograph, but you will meet him later. that uc berkeley in the rotc program in 1941. now, the and some accounting work for a japanese language school. and as a consequence of doing that accounting work the affiliated with the japanese school, he was arrested in march of 1942 after -- several months after pearl harbor. he was moved up federal justice department camp for enemy aliens. she was held there through may. when franklin roosevelt signed executive order 9066 samuel left and came back to the farm to try to help his mother in the absence of.

[indiscernible] locked up in the camp to gather and conclude their affairs. that included making arrangements for their farm. there were farmers. and one of the most valuable crops was rhubarb. a rhubarb crop was not yet ready to harvest. but rhubarb is a perennial plant, and its streets are very valuable. so simi, home from cal, getting ready to be excluded to of removed. the contract with the white man look of their farm, there are tenants. strike japan agreement that the level of a care for the rhubarb. it would market and harvest the rhubarb and sharing the profits with the family in camp for the duration of the war, and then at the end the contract would terminate at the end. that was the arrangement that they struck up with the

landlord. there are couple of buildings and the property that they aren't as well. the landlord agree to take care of those. so they're forced out at the -- in the march of 42. and they go through santa anita, so-called assembly center were they sent to us and the summer of 1942 living in horse stables. and then they are sent to heart mountain. this is a photograph taken of his wife and the ability on an outcropping to the west of camp. so hard on this to the backs. looking out across the camp, looking at across the site where we are today. you should know, by the way, that the very first straight road of internees arrive here 70 years ago yesterday. seventy years ago yesterday, august 10th 1942. heart mountain was run by the low or relocation authority, a

civilian agency set up specifically for the purpose of running these camps. and discernible. >> executive order 9066. yes. oh, the civil liberties act of 1988 was also signed on that date. thank you. during the time when hard mountain was open, at its maximum population of almost 11,000, it was the third largest city in wyoming. and what an unfamiliar place it must have been for people from timbered california. check out the icicles on the ease of that perry, right. there was a day in january of 1943, i went and dug up the albuteral logical record. the high temperature was 13 below zero, the high for that date. no, bill was a hobby photographer.

and he used not a professional, not a documentarian. he used his camera for the most part the way you and i use cameras. he tried to capture things that struck him as beautiful or interesting. so here he has a rainbow. obviously in better lighting you receive more visibly, but he saw rainbow ending at a latrine building come were all rambos and, of course. [laughter] the pot of gold, or a pot anyway. thank you. thank you very much. well, remember, i told you that here is a man with a camera. what did he have a camera? the reason was because the war relocation authority was unlike the military, staffed by people who in the content -- concept of a timer progressives. they figured out that cameras would be a good thing. there would be in affirmatively

good thing for japanese americans outside the coastal strip to be allowed to reclaim their cameras that they had surrendered as contraband because why? because it is a way of feeling normal. it is a way of doing what we all do, documenting your experience, taking pictures with your family , taking pictures of your children, taking pictures of fence. the camera, the war relocation authority recognize that it was an instrument of adjustment for the incarcerated community. so after about march of 1943 japanese-americans of the west coast, some not adman's and are, not to like, but at the camp outside of the western defense command were allowed to reclaim cameras. that is why he had a camera and was comfortable walking around with that in public. so what did he should? she shot parades.

the iconic -- the boy scouts. boy scout was very active here. you have the boy scouts, the head of the parade with the american flag and the drum majorette. the baton just behind. classic american image. and then maybe announce a classic american image. [applause] sumo wrestling, some are wrestling was practiced openly here at camps, very much again like the dancers. japanese culture being practiced with the permission of the war relocation authority. there is something -- as you can see, the faces of the folks behind, clearly a very light moment in this particular match. the test of the older gentleman has just been successfully percent of the ring by the younger, and there is communal, cultural historians who might see some interesting comic relief going on here because there was actually a pair of unspoken into generational conflict at the camp between the immigrant generation and the

citizens generation. and so there is a way in which the young man pushing the old man out of the ring may have had a surgeon kind of tension breaking humor to it. little billy gets a nice kid. people will order estates for montgomery ward and sears roebuck which is where they got a lot of their bodies that they cannot buy at the camp canteen. issing katie of ice skating became a very popular activity. swimming holes. it you can see this / having come off the diving platform. this woman hall was built after a young boy drowned in swimming illegally, one of the irrigation cana. one of heart mountains to movie theaters. people lined up for what must have been a matinee showing. if you look carefully at the photograph along the right side of the derek you can see black

curtains that have been hung in a window to darken the spirit structure so that the film can be shown and the film that was shown that state, there is a bluish spine downward to the right of the big sign that says theater. end the film is so well preserved you can actually reach to make you look close to what film was being shown, somewhat ironically there were showing how green was my valley on a particular date. [applause] used his camera to documents newsworthy events. like fires in the mess hall. this is the fire. these are men on the roof who are trying to control a mess hall place. all sorts of layers of meaning in photographs, one of the things that certainly is no word here is house of sustaining the community needed to be. it was in attorneys to provide fire protection. the cooperation, of course, of

the war relocation authority, but it was the internees who provided that. internal policing was largely in internee run enterprise. this is one of my favorite photographs. of the landscape. and he led using the camera to capture the various hues and moves of the camera. this is off the shot at dawn. there is a single light on. it's hard to see in this light, but the second derek in on the right, there is a single a limited window. is the only legacy other than those dangling from a light post . the smoke coming from chimneys. of course, the gorgeous guys. any of you are photographers you will be impressed to know that the asa, the speed of the film was ten. set to capture a photograph like this at dawn, he was not a bad

photographer. and he left to she portraits. that is cme. very striking. very intense photograph of his wife and brother-in-law. and he especially love shooting photographs of children, as we all did. that billy, his little son, the military cat leaning to one side . they're playing with something. it might be a marvel. might be something else. this is a little group of children, little bit ragtag looking. adorable standing in front of the tarpaper barracks. the little baseball bat looking thing there. that's billy.

that is also billing unionized and come. so one of the things that we can see being done with this color film and his camera is doing what most japanese-americans were not able to do which is to use the camera to try to create and bring together some sense of a normal family life, taking pictures of our children is one of the staples of a normal family life. that is what he was doing with this camera. he was to win a certain way, you could review these photographs of being the family album that so many japanese-american families don't have from this time from. that is a photograph. the me show you another photograph. kind of different. what would you describe as the difference between the last portrait and this one? desolation.

survival. monochromatic. monochromatic. you know, with the lighting it would be a little bit, but is fairly monochromatic for color image. what i am trying to get at here is that he may have mostly used his camera in ordinary ways, there was give is something else going on. he was at times documenting. he was commenting on the bleakness, the isolation, the enormity of the surroundings in the seclusion of the surroundings command at the kid is unmistakable. little billy walking of the avenue past the piles of coal and the barracks. how about that image. what is this a picture of? >> a guard tower. >> it's a guard tower. no, he could have taken any number of photographs of barrick structures around camp. it is impossible to read a photographer's mind, but it is

very hard for me to believe that he was not commenting on surveillance. that is the central image of this photograph. that is the focus. the guard tower on the help looking down on all. >> that is a mess hall. how about this? this is not exactly the way i have painted portraits of my children clinging to barbwire fences. so bill had documentary instincts. we can see in these photographs, a keen awareness of surveillance and confinement, but there is really only one image in the collection that is a shot of an overtly political moment, and it is this one. there is heart mountain in the background. a high-school building on the left, and an enormous crowds gathered on a september

afternoon in 1943. you can see, folks who are protecting from the sun. this is the moment when the people who have failed the government's loyalty test that you may have heard about, the so-called loyalty questionnaire that was administered in the spring of 1943, those who failed the test were shipped off from heart mountain and the other camps and sent to one camp that was being converted to a segregation camp. to the lake in california. this was a gathering to send off those from heart mountain view were being ripped up and put on trains to be shipped off. these loyal to questionnaires were a disaster. they produced far more -- they cause with 1wra official called the mortality of loyalty. they ended up undermining the very thing that they were intended to gauge instead of as

-- ascii all manner of insulting questions. i was able to find bill and merry wives of the questionnaires and the records of the national archives. and they're rendered and disaffection jumps off the page of those forms. you can sense on these forms that they are bristling with that what they have been asked to endure. it got him into some trouble. their answers on those farms were deemed sufficiently suspect that there were submitted to hearings to determine whether there were or were not loyal. and at those hearings, again,

their anger, the transcripts are in the national archives. their anger is palpable. it is palpable. but the w. r. a. anders said better than the military did the japanese americans often had good reasons to be angry and disaffected. and so ultimately there were adjudicated loyal, not as loyal. so there were not on that train in september of 1943 heading off faugh. their grandchild. let me tell you a little bit about how things went for the family toward the end. eunice, bills sister-in-law, mary's sister, when she turned 18 left camp, went to the midwest and took a secretarial job. sammy left to do some agricultural work. then he volunteered into the united states army.

bill, the photographer, left for cleveland to find work in a factory there. toward the end of 1944 he decides that he wants to see if he can get work in new jersey as seabrook farms which was of farming enterprise that was recruiting japanese americans from the camps to come work. so he leaves camp in the fall of october 44, heads to new jersey telescope the situation out. at that point sammy is gone. bill is gone. unisys gone. the only people left in camp are real and mary in little billy. rio de suffers what doctors called a nervous breakdown. she ends up in the camp hospital and relief for the rest of her time in camp, which is another nearly year in camp, real is

suffering greatly and really unable to the work. barely able to leave the barracks. she is something of an invalid for much of the rest of this time. comes back from new jersey and finds his wife and a hospital. so he decides not to go, not to take the family to new jersey, to stay in camp and care for his wife. mary and bill the end up leaving to join bill at the factory in cleveland. the only ones left in camp in 1945 are real engines up. they finally leave in september of 1943, just a month or two to five i'm sorry, 45, a month or two before the camp closes. they head back to california to find the crew. they discover when they get back that the landlord a few months

after they left in 1942 plowed under their rhubarb crop, carted off the buildings. they're gone. they have nothing left. and it turns out that the landlord did not even on the land. he had been collecting rents from the family since 1937, but the property is given to the state because the land but have not been paying his taxes. the state had not come in and take a position, but that a landlord had no right to their rent from 1937 all the way through when there were forced out in 1942. built in cleveland in juices back at the factory in returns to the west coast with marion little billy. he decides to reopen as a rise in hollywood. his father-in-law more less

stinkers, little bit of an inventor. he creates a fish cake maker that is installed and little angeles. but he never really returns to productive economic life. what about little billy? billy is now 72. lives in anaheim. he became a recreational parachutist. more than 1100 free falls in his career until he finally stops because of injury. guess what, he went to work in the aviation industry. [laughter] he designed exit systems for airplanes and then ultimately went into operations for several major aviation. these photographs, these color slides. there were slides, not parents, bustlines. this set boxed up for decades.

enormous staying power, particularly if they're to properly. these set in the dark for 60 years. they have been remarkably well preserved. the colors are extraordinarily brilliant in the original book, as you will see. they really sat there until i learned of them when working with david on the exhibits in this museum. send me a few color photographs, including the one of the young women standing in their kimonos. i just to the triple take. i had no idea that such images existed. with builds seniors permission, about one-third of these photographs, the collection is a 180 be read a third of the ballot. this new book along with interpretive essays by several

scholars, myself and jazzmen who is an art historian, a historian of photography at the university of wisconsin milwaukee and a very lovely essay about what it was like to be a gangster in camp. i want to conclude with the image of the cover of the book. you will see that the book that i chose to use, the image of the young men -- women in their commercials. want to share with you that i really struggled with what this image on the cover of the book should be. i went back and forth between this image and the image that is now on the back of the book, which is the image of the ability clinging to a barbwire fence. and decided to go with this image, but with some trepidation because somebody earlier when i asked about color, initially i asked about color. people said things about warpath

and happiness. people said things about 110 happiness. there certainly is one that happiness and that photo. there is no question about it. the smiles on a fake. they're not even smiling for the camera really. they probably know the photographers there, but this is not anything like a classic portrait. i was concerned that this image scene quickly could lead people to think that these were happy places, that these were place of george and frivolous and that these people were really japanese rather than americans, repeating the categorizing the

state picked up the country into this problem in the first place. ultimately decided that if you allow yourself to reflect on these images and you inform yourself a little bit about the very tragic arc of the family story which is represented of the stories of so many japanese-american families that you will ultimately come to seek that any concern that these were places of joy is no thicker than the paper on which the photographs are printed. think you very much for your attention. [applause] of the record collected our timekeeper. to we have time for a few questions? >> we will move along. questions or comments. we have time.

>> they were actually -- they had to be shipped back to california. so one of the things that little billy has, he actually has the mailers in which, you know, the envelopes in which the slides came back from the photo lab in california. and there are addressed to me by the way. yes. >> with i saw that slide about private -- right away. paul simon. the first to i think are so appropriate. when you talked about the political context of the one photograph that was a political. when i think back, it is a wonder i could the gulf. i can read the writing on the wall. kodachrome, you give up those nice bright colors.

degrees of summer. it makes you think all the world as a sunny day. oh, yes. a nikon camera. i love to take photographs. don't take my kodachrome away. >> i'm glad you mentioned it. i actually -- my essay in the book is really telling the back story. but i open with paul simon's. i opened with that. it is what i say, it does make you think all the world is a sunny day. but what of the story really is a society? and that is to my take, the central problem and the central challenge and the central the late of these photographs. yes. >> how did you find? a great job. and allow him to have to that

confined space. >> a very perceptive observations. so, billy was four when he left camp. he does not remember any of this. he has very fleeting memories. his family, as was common among, as you know, a japanese-american families. his parents never talked about this episode of all. so he has no members of this. he has no evidence of bitterness he remembers going around looking for rocks with his grandmother. he remembers little things like that. but he has no bitterness. he is of very quiet gentleman, of very reticent man and does not speak extensively about any of these subjects, but he is extremely happy that his father's photographs are coming to public attention. maybe one more and then we can wrap things up. >> yes. >> the color slide.

after 60 years or so. it changes some. did you make it, this is it said not restore them? to keep them. sauce like a colorized gps. >> again, i encourage you to look at the images in the book itself because part of what you're seeing here is the bleaching from the force the white. so the colors are more vivid, but it is also -- u.s. to great question. the of it -- the only thing we did really. of arctic injection. we worked in conjunction with the center for documentary studies at duke university. i had the photographs slot -- scandal very high resolution. and then, using a computer, dust was removed. and then, perhaps a dozen of the photographs the center for documentary studies people altered ever so slightly a little bit of the contest,

perhaps. for example, in that photograph of the movie theater there was an enormous shadow in the front. the backdrop of the movie theater itself was in brilliant sunlight. there were slight adjustments made to bring the foreground out and to atone the background down a tiny bit. mostly you are seeing them the way they would appear if there were sitting in one of those old-fashioned slide projectors that we probably are grew up looking at pictures of. i think that we should bring things to a close of the we can keep the program moving. thank you so much. [applause] >> this event took place at the heart mountain film interpretive learning center. for more information visit heart mountain dot work. up next from columbus, hear from paul back. he details the important role a higher place in american politics. >> ohio has been a battle grand state, highly competitive. both parties have been strong in ohio. both parties were able to win in

ohio. they all must go back and forth in terms of party control. there was a time after the civil war with it literally did go back and forth. every two years you had a change. a big state. a lot of electoral college votes which is important for the presidents of contest. it also is one of about a dozen states, maybe a little more than that, there really is competitive. could be won by either side. and so you put together the big price with the competitiveness. means the candidates are going to be here. governor romney had a bus tour. president obama had a bus tour just last week. they will be back in ohio. we will see more campaign ads in ohio that people in most states will seek, to the point that people will be sick and tired of seeing the. columbus, the market we are in right now, has the highest degree of political advertising two weeks ago of anyplace in the

country. so it is really going to be a place that both candid it's court. particularly after the civil war it harbor southern sympathizers and northern sympathizers. a bunch of counties to the south of us here in columbus that were counties that are called the virginia military district. after the revolutionary war officers in the revolutionary army did not get paid but were given land and ohio. part of the west at that time. they moved out here. this sort of carried with them their culture and their background. they came from a slave owning state. it did not bring slaves with them. they were sympathetic to that culture. part of ohio also has been settled from west virginia, kentucky, tennessee, the states and the self, appellation, and

indeed there is a part of a high of the really is appellation. again, there were seven separate piece. there was a lot of activity during the civil war 1/5. the governor of ohio at one point declared martial law and no higher to try to rein in the confederate sympathies and sympathizers who were here. so all of that adds up to the picture after the civil war where politicians are going to be successful statewide in ohio they had to appeal to both people with seven sympathies and people with north sympathies. on the northern side of the grand army of the republic to a committee of its officers from ohio. when they mustered out after the civil war they came back and establish the republican party. and so the grand army of the republic became in many ways the republican party. so you have strong republican

organizations look particularly in the northern part of ohio. you had people in southern sympathies in southern ohio. you as a politician wanted to run statewide. well, i have to try to appeal to both groups. of course, by appealing to both groups you were also able to appeal to the whole country which meant that people who were presidential candidates came from ohio. we have all run of people who were president's. there were able to compete in estate that had sympathizes on both sides of what had become the great divide in american politics between the north and the south. ulysses grant is troubling the most famous. the one who was the head of the victorious union army. he came back here, got into politics, was a very loyal republican.

obviously. others before the civil war. a soldier here in ohio. actually born in virginia. all three states clinton. coffee to go into 20th-century. william howard taft, supreme court chief justice and president of the estate's. cincinnati was a southern town because it was oriented. its trade. the whole of the approach road. if you can get slaves, they can get out of kentucky. across the ohio river. there were safe. the kid be the first other