so all of this to say read the book, i think you'll read a lot. >> host: professor at stoney brook, thanks for being on book tv. >> thank you, peter. >> host: live coverage from miami coming up. coming up you will see a taped program from yesterday in miami, this would be authors adam and daniel talking about their books on immigration is a lot of the focus, after that we will be talking with ronya about life in wartime syria and then rick wilson and max boot will be talking about their books rick wilson, of course, everything trump touches dies, republican strategists gets real about the worst president ever. and max boot talking about why he left the right but is still a classic conservative. so those are some of the events coming up from our coverage in

miami. >> right now we want to take you to adam from yesterday in miami. [inaudible conversations] >> good afternoon, please take your seats, we are about to begin the afternoon session of conversation. thank you. >> i'm malu harrison as many of you know, it's a pleasure to welcome you to miami book fair, we are in our 35th year and i know that many of you have been with us for many, many, many years so thank you for your support, thank you for making this book fair continue in the manner that it has over the past

35 years and we look forward to many, many, many more. along the lines of gratitude i also want to pay special thanks to the sponsors. those that have given up themselves and their companies and their corporations, so generously and those include royal caribbean, ohl north america, the bachelor foundation, the knight foundation and so many others in addition to many individuals and i should say hundreds of individuals that have given selflessly of their time to volunteer in many, many aspects of book fair whether it's this week, during the street fair or during the year because as you know miami book fair is a

year-round literary affair. also i want to recognize miami-dade college and this is where it's at for miami book fair. we are so proud to be democracies college open to any and everyone that seeks to better themselves oh -- through training and education and other 8 campuses we are making a difference in that regard. thank you so much for being here. we will continue with the afternoon program and i hope that you've been having a good time so far at the book fair, have you? yes, wonderful. as always, please turn devices off. you'll have an opportunity for questions and answers at the end. i ask that you approach the mic in the middle, ask your question and then please be seated so we can get as many answered as possible. and so, please help me to

welcome adam gopnik, mr. gopnik and as adam comes on stage let me say that daniel unfortunately cannot be here with us today. a little bit about adam who has been writing for the new yorker since 1986, he's a 3-time winner of the national magazine award for essays and criticism and of the george award for magazine reporting. in march 2013 awarded med medaly the french republic. he is the author of at the stranger's gait, arrivals in new york, a memoir that you'll hear more about this afternoon. at the stranger's gate to new york, let's give adam another

warm welcome, adam gopnik, thank you. [applause] >> thank you. and thank you all for coming. i know that there are countless groupies that texted i wanted mendleson, how do i get out of here? i'm daniel would not only have come here for some urgent reason which i gather it was, health reason but you have me -- [cheers and applause] >> and what i thought i would do this afternoon instead of read to go you from the book at the strangers' gate i will tell you somebody read it, you're the one, my publisher has been wanting to meet you. i will tell you the 3 of the stories that are in the book, it's a book that's about coming to new york when i was young with my then girlfriend soon to be wife and it's about what happened to us and it's a

collection of stories, anecdotes, tales about young couples with huge ambitions in tinny spaces and the truth is, you know, we leave home to find home, that's a fundamental truth about humanity, we leave home to find, we leave the place we know in order to find or make another place and the odd thing is that very often those of us who leave home first are not the ones who are most unhappy at home but exactly the ones that are happiest at home and therefore feel most impelled to go out and make a new one that. was certainly the case for martha and me when we decided to leave montreal, canada where we had grown up, montrealer, not a bad year for the have's. we decided to get on the bus, we were just 20, we would get on the bus and get to new york city. the bus, the driver putting our

bags on, we decided to go to new york, my father came to see us off and you all know how in literature the father figure always tells the young man or woman that leaves for advice, you may remember that, he's leaving and when he gets to paris fight duels with everyone you meet. my father is a jewish intellectual, he's a professor of english literature so that was not the advice he gave me as i prepared to get on the bus, he said to me, he said to me when you get to new york, remember, never underestimate the other person's insecurity. think about, yes, exactly. [laughter] >> takes a moment, takes a moment but it's a deep wisdom that i try to follow through

with. we got to new york from new york and we immediately rented the single smallest apartment in the history of human tabbations and you think i'm exaggeration, 9 by 11 room, 9 by 11 basement room. what they call in new york a garden apartment. [laughter] >> in all romantic comedies, barefoot in the park, sunday in the park, new york on sunday, all titles, in all of those romantic comedies about people arriving in new york they always get a 6-floor walk-up apartment with skylight, do you remember that and all the comedy comes from struggling get up the 6 floors, the mother-in-law, the guy installing the phone, but there were none of those apartments, they never showed us

any of those apartments, it was basement rooms that's all we saw. my sister ailene, my sister is 1930's and this is the point i was going to make is that we really that all of the people that had rented those 6-floor walk-ups in 1961 were still in those apartments, they had never left. my sister ailne outgrown moved up and that's the truth about apartments in new york as you'll know if you ever live there, apartment hunting in new york is like a game of musical chairs with no music and no chairs. wherever you are is where you are. and actually, you know, that sounds like a joke but the truth is years later i was reading the autobiography of neil simon and i discovered that, indeed, the apartment in barefoot in the park, the wasn't that's 6 floors up is exactly modeled on the first apartment that he and his model had ever rented and where

they had had their first child and where they were still living when barefoot in the park opened on broadway. so the lesson you draw from that, you to become the single most successful play write of the 20th century to leave your first apartment in new york, well, we loved our apartment, 9 by 11 room, we had a foldout softa that sat about here, i had a study, office right here, sheet of glass with typewriter on it where i wrote for the new yorker magazine, though, they weren't aware of it yet, then back here there was a tinny little kitchen with easy-bake oven and two burner stove, bathroom, then there was a dining room right here which consisted of a piece of marble and here was my wife's martha's office where she sat and worked at that was our entire universe for 3 and a half years and we loved it, we loved it until the

first night and we turned off the lights and discovered that it was infested with most cockroaches and they came pouring out from underneath the base board. asian cockroaches and water bugs. i don't know if you have seen this but they are the size of full back for the dolphins and what's scary about them is they never die the first time you hit them with the sneaker, that just stuns them and you to hit them again and that's when they explode in the kind of wet, ground ball and pick up their little pieces which are beautifully articulated biceps and triceps. i'm sort of canadian, my wife is

truly canadian, diplomacy canadian overlay with the islanders. she assumed that the cockroaches could be gently discouraged from pouring into our room because, you know, my favorite canadian joke, how do you get 25 canadians out of a pool, you say please get out of the pool. she sent me to a lumber yard, thinking the cockroaches would see it, no, we are not supposed to go in there anymore, all right, thank you for the warning, didn't work that way. so faced with this influx of sorted and disturbing in our first new york home we decided to do the obvious and logical thing to fix it which was to go out and buy me an expensive suit, well, follow the logic here. i had gotten a fellowship for

$3,000 from the canadian university we went to which they thought was all the money in the world you would ever need to live in new york and our whole ambition for life at that moment was to live what we call poetically which did not mean rimed in meter verse, it meant certain elevation, flamboyance, gesture and we we wanted to live in new york the way scott fitzgerald lived, throwing money out of the windows, we wanted that kind of gesture in our life and we certainly weren't going to get it here in basement room crowded with cockroaches but martha had one beautiful dress that she was going to wear when we went downtown to get married at ski -- city hall and i said, if i bought a suit to match it wound living the life in little room. we went to discount store, we

bought it and it was beautiful, it was designed by ted, someone here knows his name but generally speaking ted lapatus is not a huge name except for one thing that he had done, designed the white suit that john lennon is wearing in abbie road, not only handsome single-breasted blue suit but also the attitude of beatles upon it, for our generation the beatles were not a musical group but a celestial event. y'all can see i'm a very small man, short man, whenever i buy the suit it has to go to tailor and, indeed, we took it to a greek tailor down first avenue and he looked at it, try tried it on, you fit nice, fit nice, i was very pleased, left it there, martha went back to montreal to collect our goods, i don't know

where we intend today put them in this space but she did, a week later i went back to pick up the suit and it was right that same week talking about celestial event when i looked up in the sky and saw yoko ono and i went to get the suit and i tried it on and made beautiful alterations and it fit nice. it fit nice and he put it on a hanger, suit hanger and put it inside the suit bag and zipped up the suit bag and handed it to me and i walked out with it over my shoulder, i had never been happier in my life. we were living in it basement room, got back and unzipped the

suit, the pants were gone, exactly. i looked and i saw this was a bag that had no bottom. the pants slipped right off the hanger and were some place else on first avenue. you know how it is, the moments in life when you know that tragedy has struck but you haven't yet fully been able to internalize it in your body, when you see a beautiful anteing vase about to fall over and you can never get in touch. fish out of water moments, fish really only have two conditions, right, water and oh, my god, and this was oh, my god. [laughter] >> the pants were gone, the pants were completely gone and, hello -- someone who clearly

lost his suit pants as well. now in -- i'm getting to that part of the story. [laughter] >> for the pants, i go back out on first avenue, going back out on first avenue and start looking for them. now in montreal where i come from, where we both come from, if you lost your suit pants on sherbrook street, somebody would pick them up and put them on car hood or fence, write a polite note these were found monday at 4:00 o'clock, in new york this is impossible because huge road in river that pushes everything down, you drop your pants and they're immediately swept away, i ran back to the tailor and in case something had happened and i explained to him what had happened and he said mournfully,

it fit nice, it fit nice and past tense and i knew i was doomed and i rushed outside and looked up and down everywhere for my suit pants and the worst of it wasn't just that i knew that my suit pants were gone for good but that immediately i had been removed into the wrong kind of literature, i was no longer in scots fitzgerald story, i was in those st. petersburg in 19th century where heartbroken clerks go up and down searching for coats and spend the rest of their lives in walls in permanent loss. that's the story i was in now forever. i finally went up and down the street till it got too dark to look any further, i called

martha inmont rail. it was big deal to make long-dissance call and i called her and i said, baby, i've lost my pants and she took in the full dimensions of that loss in her body, have you tried looking at the park. you can take to central park and leave there for people to find. this isn't true by the way, they were gone and they were gone for food, when we went to get married at city hall i wore the jacket and old pair of jeans while martha wore nice dress and we were married. about two weeks after that, we were here in this place, we

called it the blue room, we will share a blue room where every day is a holiday because you're marry today me, you know that song, that was part of poetic infusion into this space, the blue room, we were here in the blue room and we suddenly heard hub, a lot of people talking about in agonized way, i went up and i heard that john lennon had been shot earlier that evening. and somehow out of those two fatalities, my own trivial and passing one and the cosmic and enormous one of the loss of john lennon some little tangle of loss got implanted on ourselves that would never go away. we came to understand at that moment that inviting as new york and its possible poetry was, the lethality of the city was every bit as real and one that we would have to keep in mind and that it would keep us out remove for the rest of our time there.

i bought many suits since that day but the truth is i'd never had another pair of suit truesers because your first is a little bit like the first time you have sex, you can do it again but you never get to do it over. it's always the same first condition. so i always feel and i tell my children that i am walking around the streets of new york city to this day nude from the waist down because if you think about it, new york is like the opposite of the city of anderson tale about emperor, you can talk around naked and walk around naked for the first time in 37 years and the only one who knows is you. so that's the first story in the book, it's about my suit trousers.

[applause] >> i think about it particularly in marriage, marriage and food are really aligned. people often ask me how was it that martha and i were able to live for 3 and a half years in single 9 by 11 room without tearing us apart, if you think about it it's like a psychological experiment that some psychology professor would have put together, put young people in 9 by 11 room and see how long it takes to kill each other. in true we didn't fight in part because the space is so small. you know how that is, when you get in a fight early on, you always say i saw her as she really was for the first time and i stepped back and had real perspective on him, this place was way too small for any of that kind of activity, you couldn't step back and see anybody in a new perspective. you were -- it's like -- i have

no visual memory of martha from those years. i only see her aspect -- as picasso portrait, tinny piece of her nose right here, i have to put it together compositely but we did have one fight, we did have one fight and it was a fight about food, because here is my theory about marriages, anyone in this room married, several people, i generally like to ask this, anyone here parent or a child? exactly. [laughter] >> here is the thriewt, i think it's like famous thing of stories, happy families are alike, all unhappy marriages have fights and you have a different fight every day, we all know couples like that, they find something new to fight about every day, unhappy marriages, all happy marriages you fight every day but it's always the same fight, you the same fight over and over and it's usually about food because food is the place where moral

taste and mouth taste kind of intercept so what you're eating turns into a moral fight. my greant -- great aunt rose and uncle ron. they came here and when you visited them they always had the same fight, this was the fight, my uncle ron would say that they gave you large portions in restaurants in order to charge you more money and my aunt rose would say that they had to charge you more money in restaurants because they had given you such large portions. that had the fight for 50 years, as long as i knew them even when ron had vocal cords removed. i'm telling you, they give you the big portions to charge you more. ron, i have been talking to you

about this half century. same fight over and over again, very happy marriage, they just went right on for 50 years, martha and i had one fight and this was a fight about food because i discovered in our first weeks in this room that she was a well-done person and i came from a long family of rares. [laughter] >> now, i should have known this when we got married because we had been dating for a long time and she wanted everything well done. you know how it is when you're dating, you believe anything weird is just a little adaptation, so when she was saying well done, that's just being really lovable kind of not a -- i realized when we went to cookout and her father put hamburger for 5 minutes and another 5 minutes and then another 5 minutes, then another 5 minutes that her family were well done and my family was obsessed with rare, you couldn't have anything medium. you had to have everything rare.

took me autofigure out what was going on. martha's family came from iceland, you eat everything raw, you grab it off you can, lava field, you break up the back leg and hue on it and mussel from the field. [laughter] >> they were rebellion against flankin and meatloaf, rare meant france and pink meant paris. it was greater than any religious could possibly be,

between us. it came to a head finally one day, early 08's when i went and got some tuna to cook for dinner, some of you may remember early 80's is when we made transition from tuna fish to tuna, if anyone recalls that. until about 1983 we had tuna fish which is the thing you had in cans that you mixed with manaysse. my mom had taught me to took, she was one of those women of the 60's, accomplished scientist but believed in cooking, domestic deviation of feminism and she taught her two sons, not her daughters how to cook and given me to come new

york, she gave me a dictionary of cuisine but i would be sauteeing and people thought we were running a crack-din because there was no explanation for it. poor, martha i had to fight her way with oxygen tank. i get the tuna and go back here and i decided to make tuna, the way you have steak, banged the peppers and i do it and cook it and bring it over and i put it down here and i call martha to the table and she comes over and she cuts it open and she says, i can't eat this, this is too rare. now, some part of me was so inflamed by this that i often wondered if there was a kind of, forgive me if i share, i wondered if there was underpinning to the whole thing,

right, but you had been married for 6 months, right, something pink and large that you're offering your wife and she's rejecting it, maybe, possibly. in any case, i was more enraged than i had ever been in my life and i did something that i had never done before and i had never done since i head for the door like a husband in 60's, the door was only 3 feet from the table so it wasn't a major voyage but i went, i went to do it and martha got up and in a show of graceful certainty which i did not see again even in childbirth with this very gracious polite person, she looked at me and she said, you are going to go back and you are going to finish cooking that fish. [laughter] >> and i knew it was a by vot moment in our relationship in

our marriage and so, of course, i did. i went back and finished cooking the tuna. the next day neighbor i don't know what you're doing in there but you have to stop. >> that was a huge blessing, i had to start bracing and stewing. i couldn't saute anymore. you don't have to deal with rare and well done, the only two moral terms bracing and stewing, tough and tender, is it tender, oh, it was really tough when i put it in but i'm been braising for four hours and tough and tender beautiful dimension to build a marriage on, anything tough can be made tender with enough care, that's all that a marriage is.

making everything tough, tender with enough care and internally when we left the apartment we found a beautiful word to build a marriage and i urge it on every young dmowm -- couple and that word is medium. medium is a gorgeous word. you have one straight moral access like pennsylvania avenue to run down on but at the same time you say, i will take it medium rare and she can say i will take it medium well and you're both simultaneously on the strait access and in own private chapels of taste. medium and tender of words of long and happy marriage which i'm glad to say that i have. i wish ron and rose were still alive. they passed away here in miami a couple of decades ago because i would have been able to tell them the essential truth which is that it's true that while when it comes to food the price

is always due, get bigger if you're married to the right person the portions also get larger, that's the second story in the book. do i have time? please plas. >> oh, yeah, i will tell you the third story and then i would love to take some questions, i would love to take some questions. so eventually i got a job, ridiculous job. grooming editor. i spent 3 years of my life rewriting copy about shampoos. finally, we were able to move downtown in new york and we bought this little loft, i didn't buy it, we rented it and we thought it was great because we were leaving, actually what we were doing is changeing one room to another, it was infested

with rodents, mice, rats, there's a whole chapter in the book, martha with canadian vision of the world would stamp her foot when we came in and say, mice go away, but they didn't. [laughter] >> she insisted that i stay up nights to keep an eye for the mice while she was sleeping, that may sound like impossible demand but i should explain right away that one of the happy advice is that martha is champion sleeper, can sleep any time for any length of time. 8 hours, 9 hours, 10 hours, i called her before i stepped out here and she hasn't woken up yet, she was just waiting up in new york, i have yet to sleep in my adult life. i genuinely, you can see the circles, just doesn't happen. doesn't happen for me at all. so i'm awake on a friday night keeping an eye out for mice and martha is asleep in the bedroom, now truth is the loft like the blue room is one big space but

it's strange, isn't it how those spaces when you assign functions suddenly have the ora and intensity and the feeling to have space, you say this is the dining room and it suddenly becomes space where you don't want to be and that's where you want to go, tell your father, all of these spaces just because you designate them -- that was certainly true, we put the bed in the corner and immediately became the bedroom, sleep and sex at the same time, we were by this point we had been married for about 5 or 6 years and to be honest your sex life changes a lot after 5 or 6 years of being together at least it seems that way to me. in early time together you're sort of explore sex and then there comes a time where you start to enact sex and then you begin to reenact sex like the civil war to refight the battle

of pennsylvania, second bull run because it's exactly like that. everybody knows anything that will happen, right? [laughter] >> you know who will advance and who will retreat. [laughter] >> exactly what everyone will be wearing, uniforms, who will win -- and yet the funny thing it's true about reenacted sex too is that they enjoy it much more than the people who fought the original battle ever did. that's true about long-term sex in a marriage, reenacted sex, we were edging into that part of our life. so martha is asleep, i'm up looking for the mice and the phone rings, now i had just started being the grooming editor of gq, i started publishing a few pieces about art and the art world in obscure magazine, phone rings and i pick it up and the guy says, this is john from the pluralism and individualism conference, we are looking forward to keynote tomorrow morning. [laughter]

>> now, i have no memory of ever agree to go give any keynote much less the keynote for the pluralism and individualism conference and a better person than i am would have said, i'm so sorry, i have no idea what you're talking about and i said hold on a moment, let me get my calendar, i didn't have a calendar, walked over and said could you tell me the details to make sure i have everything down correctly here and he said, yes, pluralism individualism conference tomorrow morning at 8:00 a.m. at the doral hotel at 15th and lexigton and martha is sound asleep. what am i going to do? pluralism and individualism you have a vague idea of what that is, plural, the many, individual the one. [laughter] >> at the time i was studying art history, getting graduate degree, i thought if you grab a handful of slides in history of modern art you will have a

lecture of pluralism and individualism, i have self-portraits, that's basically what i did. get up the next morning at 6:00 a.m., martha is still sound asleep, put on my jacket, suit jacket and jeans and go down. i get on the subway and i go up to 50th and lexington where doral hotel is, it used to be a piece of cincinnati in the middle of new york, i walk into lobby and there's a guy in the suit pacing, must be john, sees me, shakes my hand and says we are all waiting for you. i stepped into the ballroom which is about 4 times as wide as this one, every seat is taken. there's a big banner on the far end that says pluralism and individualism 85 and everyone men has suit and all the women in stockings and high heels and i'm think to go myself who are these people, are they science

sciencetologists. so i stepped to the microphone and i give a keynote address that would have done professor irwin proud. i say when we confront the reality of modern civilization we can only understand it through the full range of its many pluralisms and yet when we inspect those pluralisms in all the plurality we are driven back to realize that any pluralism is simply composite of countless individualisms that make it up. [laughter] >> we look at the individual and yet we can only see the plural and get when we explore pluralism in the fullest range of its pluralistic impliations we are driven back to the individual. i went on like that for 35 minutes. [laughter]

>> they applauded at the end. he slips the envelope, white envelope in my pocket, never been paid for a lecture before, i waited until i was out in the street, $500 inside, all the money in the world. i come back home, martha is still at home, martha is still asleep, 9:30 by now, go back to sleep, 11:30 martha finally wakes up and i say to her, baby, you will not believe what happened while you were asleep. [laughter] >> $500, i told you our whole dream coming to new york that we would live in flamboyant and extravagant needlessly frivolous way and we have $500 and we decided to go and have one great dinner at one of the new american restaurants that were filled and we went out and we had champagne, red wine, we had

great meal and we limp back home tipsy, at midnight and come back to our loft and i opened the door and turned on the light and there are 100 mice dancing it was like one of the 30's cartoons where little mice are playing fiddles and i realized looking and pulling my arm out from keeping martha to come in that the martha are enacted all of the themes of my keynote earlier that morning, when you look at one mouse and try to focus all you can see the plurality of mice and when you takes 100 mice you keep seeing mice. i said, baby, you can't come in here, you don't want to come in here. we had one friend who had an apartment up 75th and first avenue, 90 blocks away, this was long before cell phones, long before there were any atm's in soho, we sobberred up and

started the long trudge to his place to sleep as i walked along on the trudge i realized suddenly i had a manhattan epiphany that our relationship to new york is exactly like the relationship of the mice to our loft. no one had invited us to come from canada either. [laughter] >> we had forced our way inside and made a living and a life by sheer force of will. and so as i trudged up the 90 blocks to 75th street that night was the first time i ever felt that i was a citizen of new york. thank you so much. [applause] >> i'd love to take some -- that's a taste. thank you. that's a taste, savory of my book. i think we have a few minutes. yeah, we have 10 minutes for questions.

doesn't have to be about mice and lectures, about anything -- >> no, but i'd like it to be about food and thank you for talking about food. i heard a snipped of you in the new york radio hour. >> that's out now talking about thanksgiving. >> talking about thanksgiving and i want to know how you're preparing your turkey this year and how are french turkeys different from american turkey. >> this is a great question. i did a thing for new yorker radio hour about making turkeys about thanksgiving dinner because i'm still the cook of our house and two things are true and how are french turkeys different from american turkeys, one interesting thing in french turkey we call it india, we both get the country of origin totally wrong but they source it differently than we do. my theory of turkey, i have grind turkey and i have gotten heirloom turkeys, turkeys in

france, super market turkeys in an emergency and my experience that every turkey tastes like every other turkey you ever had. it's magic food and never gets worse and never gets better. [laughter] >> it just tastes like turkey and needs gravy. ly briend the turkey, i ordered a heirloom turkey, i will grind it. jewish ritual practiced by people who don't speak hebrew, you hope it will please god in the long run. [laughter] >> adam, about four decades ago you were my student. >> really? >> in eighth grade at a school in west pennsylvania. >> your name is? >> martin rosenthal. >> science and drama teacher.

[applause] >> let me -- let me say when i first came into the office to find out who my students were they said you have adam gopnik, ai said how can i tell adam, you'll see, you'll know when adam walks in. adam walked in with a bow tie and your first suit, you were about this big with a flap of hair that came down to here and you were charming adam. >> we made a movie together. >> didn't we make a movie together? >> we made a movie together. i was at theater of living arts and apprentice actor and wanted to make a film and we made a movie together. >> in fair mount park about the death of a bird. i remember it so well. >> and adam being dramatic was in drama class and i will never forget he had a bowl and came onto stage and the bowl was

called darkness and he threw the ball and said light, dark. >> true, really i did? [laughter] >> that is true, adam. >> well, i remember the film extremely well. it's so kind -- it's so kind of you to come, you have more embarrassing stories to tell? [laughter] >> and just let me tell you when i left philadelphia to new york i also ended up with the one room with cockroaches, also my wife judy has a book at the book fair this year, longing to be free and i will see you tonight. >> fantastic, such a pleasure, thank you for coming. i don't know -- i don't know martin if you recall but my best friend in eighth grade was a wonderful guy name dan and i had not seen him in 40 years and we reunited this past fall, had wonderful lunch in philadelphia. can i take one more? one more question? can you believe this, reunions

from eighth grade? please. >> what's your take on the teen of brown years at the new yorker and how did it affect you? >> they were incredibly happy for me because i was in europe the whole time. that's a silly -- the stupid thing to say, tina brown as i've said, tina brown is a billy martin of magazine editors, anyone here remember billy martin, she -- some people that have feel for talent and tina has a better eye for talent and like billy martin, willingness to put herself on the line for talent than anyone i've ever worked in publishing or editing, she spotted anthony lane when she was 24 year's old, made him her movie critic, made david the clean-up hitter to have magazine when i said i want to give up art writing and go to paris instead of saying you're crazy, you know, that sounds like a

good idea, you should try something larger, i think you could do that. so i love and adore her and as i say like billy martin i'm always in awe of somebody -- very few people who can do that and say that -- susan, larissa, uncanny judgment of talent and i love and adore her and hope even after my joke today i can still count her as a good friend. thank you so much for coming, it was a delight. [applause] >> the author will be signing his book across the hall past the elevator if you would like to continue the conversation. >> and welcome back to book tv live coverage of the miami book fair coming up in about 15 minutes, rick wilson and max boot you will also hear this