>> it contributes to keeping a system in place that takes accountability out of the system. i think it also is an easy way to bring in something like evangelicalism or any other faith and then use that as a way to get votes which seems like about the worst possible way you could use faith. >> watch book tv every weekend on c-span two. sumac up next on book tv. casey kept takes a look at author harper lee's attempt to write it true crime book. and later, columnist george will shares his thoughts on the state of american conservatism with his latest, the conservative sensibility. [inaudible conversation] >> can you hear me okay.

my name is rebecca and i'm on the events team and tonight we are really excited to have [applause] [inaudible conversation] this is not his first thing he has given us to write. casey has been writing for new yorkers and new york times, for others for many years now. many of you probably noticed because you are here but in all of her work she has been superhuman ability to make everybody else fascinating. it's a clear and this could not be more true for this book. in this one, casey marks to intertwining mysteries. one is a story of reverend billy maxwell in his trials and the other unfinished work of character.

stories with contagious dedication to seeing them through and doing them as must --dash justice is possible. this is a book that you can actually not put down. i mean, that very seriously. i think i'm about 20 pages from the end right now. [laughter] casey, we are so excited to have you tonight thank you so much for coming. patrick is a staff staffer with new yorker. [applause] author of three books, the most recent of which is needed new york times bestsellers. true story of murder and memory also amazing. patrick think you so much for joining us. thank you both. just an fyi we will have be having a signing after this. stick around afterwards. grab a coffee and a book. thank you for coming. [applause] screamac [applause]

[inaudible conversation] >> thank you for that kind introduction and thank you for coming out this evening. it's a huge drug pleasure to be here. some of you trust me as a fellow writer and i am in india's fellow writer. in some ways this is a book about failure. it's a book about an extraordinary story an extraordinary writer who kinda fails to bring it home. at same time, it's kind of a triumph. in the sense that all of these years later, another

extraordinary writer does succeed in bringing it home. it's remarkable in of itself. also kind of audacious. when you think about it. a number of places in this book, you get this kind of wonderful scenario familiar perhaps to some of the reporters out there that somebody kind of alights in a strange land with a notebook. and tries to pursue a story. and figure out how to report it and figure out how to tell it. this happens with different people at different times. in this book but also happens with you. i wonder if you could tell us a little bit about how it was you first came to alabama into the story. what gave you the you would go where. [inaudible conversation]

to take this book that harper lee couldn't write. and write so beautifully yourself. >> that's like a hundred questions. i just want to spend 30 minutes for every one of them. first it wasn't clear to me that he hadn't written it. and certainly the case that a lot of people very close properly and if you had the chance to read the book, you see there gathered some of their speculation in some of their intelligence like too strong a word but a lot of people at the time but she wrote it and chose not to publish it. already there's this this kind of texture to this mystery, did she write it or did she not. and if she did what did she do with what she wrote. there are so many possibilities and facts and what might there be to find. so it was not clear to me from the outside that i was trying to do something she had it although it was clear to me that the book i was going to put together would be quite different from whatever she might've written because i knew she would be in it.

much the same way i didn't want to be in my book, there is no way the reverent by harper lee, had a figuring out reporting the story. she'll mostly because she was so price at it and because she had such a strong motion about the identity of the artist and standing outside of the work, she was almost certainly not going to be in it. even if we found a full and you script. i was both excited and terrified by that possibility. . . . .

cases in the sense that they were unsolved and no one was held responsible, and the same thing when you are writing about a liberal publication in the deep south, that is a very unfinished story in the newspapers still going on in alabama that people are fighting for their rights and equal buddy and justice so it didn't seem that odd because they all felt that way and indeed all of life feels that way. where do you ever have a

complete stor story maybe if yoe doing a geological project that ended and you can definitively say that it ended but otherwise it is always kind of messy and difficult to know and can't wait to throw the questions back at you but you wrote about a political situation that would say unfinished and unresolved. i think you can wait just a little longer tell me about the beginning, had you known? >> so the logistical kind of how did i find the story, i was a harper lee fantasy kid and you wouldn't know it but i don't

like the actress that played in the film adaptation so my dad isn't a lawyer and i was a tomboy and at that boo that boos basically a write-in for me. i had done trips and i'd like to try it but never made it to this town where harper lee was born and raised and not that it was purely autobiographical, but the talent where she was born bears strong resemblance and i wanted to see if so in 2015 when it was announced for 15 years it was never published another book and she announced she is publishing this book and her older sister who had been her caretaker and kind of business manager died a few months before that and there were all these questions about the problems of the manuscript and about the ability to consent to publication so there were

reporters from everywhere else that went down and looking into that book but i found out about this other book she tried to write. it was interesting and strange given the thousands of years i've never have guessed it's what harper lee was up to after to kill a mockingbird and the more i looked into it the more interesting it was how many were alive and had been on involved in the case and music to the reporterreporters either as no d to write the book because they all thought harper lee was going to do it. harper lee has her name all over it. it seemed there was a sweet spot between the possibility of having written it and the opportunity that included her work as well. >> the reporter arrives in town and is not a native.

>> capote shows up in kansas having provisioned for the short trip. i of course was wondering. in the specialties these days there was no provision in. >> did you go knowing, i wonder about the process there might be a book but also the sense that you could report and write.

to do that myself it is earned and takes considerable work to. >> what was that process like? >> i had never been to alabama before i went to report that story. growing up in a kind of perfume of sums it felt familiar to me and i was energized by that initial reporting and i admired the work and wanted to know more

about it. this other case was interesting in its own right and i have a bit of resistance to the truth crime portion of the book fascinated by the lawyer and the first is about the reverend accused of these murders in the second third is about the lawyer that defended and then descended the vigilantes to murder them and the third part is harper lee. i love political history and i'm very interested in people who stay in the place i would rather not have them and in that way tom felt like a familiar character. the same thing for harper lee. quite interestingly she maintained this connection for a woman of her themes and topics and that her kind of

cosmopolitan ara and one of herd sons is here so i tread lightly in my characterizations. the reverend was a tantalizing character to get the right amount, and i'm interested in the world religion and interested in superstitions and how people make sense of the world around them to defy the explanations so it's not like between the three of them than i would get to do different writings. there were people who lived through all this and the archives in the papers but i waited until i could get

autopsies and birth certificates and made sure some of these initial fact-finding's checked out. some court documents turned out insurance documents in the civil cases and then it felt like okay i do have enough facts to build off of and the same thing for harper lee. she was still alive i didn't get to interview her. i was one of many reporters that went to be turned away by the armed guard i did get to know friends and family of hers and that was meaningful and useful. the coincidence of timing is that some of those folks were alarmed and worried about her in that sense and after she died in 2016. they wanted to talk about their friend and make sure that there

was a completed version of her in the world even if that meant revealing things that might have been embarrassing to her during the lifetime. >> between the process of reporting and writing is i think with malcolm coles and of this. so you are there and doing the reporting. you hinted at the structure of the book, and i wonder at what point did you arrive at focusing on these individuals? it came to me that way and it seemed obvious that's how it would work. there was an elegant chronology to that because the reverend was born in 1925 and ties and 77 as far as the book is concerned. this doesn't spoil it for you because this gets handcuffed to

the attorney who's kind of climax in th of the story 77 an. immediately he hande hands it oo harper lee said that chronology was undermining the three character sections. >> to finish the book or any other subsequent to mockingbird. it felt kind of intimate or granular. it seems to be a function of the

way in which the lives of african-americans were recorded in the paper trail that would have been available at the time dido you confront similar challenges and how do you deal with them? >> i try to be conspicuous about them in the book and also in the nodes but you are relying on the oral history where they worshiped as a kid you can go to the church and its brick and mortar. you can figure out where approximately it was located and

even though the architectural history is hard to come by in some instances and rely on oral history in the case of the official document some of the local newspapers had negro section so you can get a little bit of the sense of what black life was like and some of those early histories go to the sharecroppers in the region. a great coincidence to the story of the places where reverend preached is a little bit of the autobiographies to learn about the town and so this book is set in alabama and if you've ever read all god's danger, but a tremendous life of the sharecropper is where the communist uprising was. they are writing about a similar

time but there's some material to drawl and they have some of what life was like then. you would hear it from one person and hav to get them to sh out. that is where the kind of nuts and bolts of his life to get his birth certificate, marriage certificates for sometimes you can find a tax on mortgage fees but the official people it is in terms of criminal trials and classical litigation. so in the instances where there are gaps, i try to be conspicuous about it and use it

aas a way to talk about how history is formed and obviously i'm lucky infection with harper lee i can use her as a way to talk about the decisions any true crime writer talks about the perpetrators and characterization. you are always dependent on who cooperate and gives those materials. i think you did that very effectively while also not putting yourself in the text of the. >> i didn't want to tell you about the time i was in the rockford courthouse and got walked in the room and that kind of stuff like the record keeping could really use it. you don't get how much the photocopies on for alabama were the attorney general.

they do not make it into the book. >> so this issue of true crime, there is a section in public i i confess i did not know i didn't fully grasp the chronology, but having written a think it took two months. >> i know they have a reputation they came up with the pages and is a draft that had to be revised. it turns the book in and there is a period of time as the book

goes through the process getting ready for publication during which looking for a job at that point that her friend says i'm going to kansas and looking for a research assistant and i will pay you i think it was $900. she needs the cash. the kind of duet of these friends that runs through the book is wonderful. so they go off together before a mockingbird comes out and then eventually having done the initial reporting they are not ready to it becomes a massive success and it goes back and forth. but during the interlude when they are in kansas, they describe how intimately involved in the was in the assembly.

and i'm thinking harper lee wrote in cold blood. she did write another book. it was called in cold blood. >> when i started this book it was like did he really write to kill a mockingbird. >> it's hyperbole in one direction or another. we ended up feeling uncomfortable in another reason she ends up struggling to write

a book she wants to about the reverend. she feels as though she has a certain distaste for the conventions of the genre. she ends up stuck between what she knows she needs to do and feels unable to do. i wonder how you felt as you embark on this and dealt with the same dilemma at a different time when there are people who will pick this book is not because theup notbecause they as but because -- >> those are the readers that are like where on earth are we

filling a reservoir? [laughter] but no of course i was mindful of that. on the one hand the reverend was accused of killing family members they very much remember the victims in the book and she was 16 when she was found murdered and a lot of biological siblings and vigilantes who murdered the reverend is alive and was related to her and there was a lot of loss and mourning around the story and the reverend himself obviously.

and his murder was never held responsible, so in whatever kind of general obligation you feel to treat your sources and subjects respectfully and carefully which i feel whether you are writing about a technical company were garbage disposal company i certainly felt with this book and the more people i met who've lived through all this, the more people who were worried that the sensational story would be somehow used to malign or misrepresent the community which is in cold blood because i'm the one hand you want to write about this as a representative episo

episode. to try to be honest and also respectful and empathetic and the start about the true crime portion there are people who were murdered and died and that is one kind of challenge. there was a lot of fear around how are you going to represent our beloved friend or godmother, whatever the structural relationship was. everybody in this boo book can anybody in any book wonders how they will be represented and it's not only an genre of true crime. so i felt this evenly throughout the three section. >> but you were not stymied by it in the end.

>> i believe in contracts and deadlines. poor david is here. i do believe in deadlines. i think again what you can do is talk about that and i was lucky in the case of harper lee i have a very necessary reason for bringing that up, and hopefully if you are age group crying fans and not in it for harper lee, what you get to do this sit with her as she makes those kind of decisions and if you delight in that and never thought about the kind of prospective choices or how they assemble documents and give them even more unneeded weight that is one of the things you can do is deliberate with her and learn more about a genre that you already love. >> so, just a couple of quick questions and i would like to open up to questions from all of

you. part of what i was about this book is there is an amazing aside, which they managed to kill extraneous if some of you that haven't read the book are wondering why this reverend might have killed all these people. the answer appears to be insurance. it is completely fascinating to me. [laughter] but voodoo as well, and even the concept of murder and when it's sort of became a legal concept

obviously not one that initially was applied to the killing of native americans, but i wonder how you thought about a. of the structure for me there's enough people in the room who've known me for enough years if it's just the way i talk to understand why because in matters.

that's not to say they're on a tremendous volumes behind any one of these kind of pockets of explanations you try as best you can to figure out the salient parts of and that's really you the writer going out to find it or how far down the church bells can go up the shoreline so just collecting those kind of things and if you are lucky you have

enough time to do it. one of the things i love this is my first book and i loved having time to just go looking for things i didn't even know i was looking for and have the third or fourth conversation with someone where they told the one-story were just telling them i sure she's dead? still alive, not that old come and go looking for them. so yes, i think that it is in the book t to do it and i'm also mindful again joking about this it isn't a book for everyone. i think that there are folks that don't want history order detail. one of my favorite passages in the book you don't know what you are going to need to come and it's one of the chapters that opens with this maybe some of you know that i grew up doing this. i didn't know how it felt or

sounded, but there's a little bit of description that follows the about the kind of texture of ththe late summer in alabama and it comes from these tremendous letters a naturalist wrote, and i had this whole volume that they wrote to england and was supposedly going to look for sales on the alabama river that he made his way up. he watched them outside and watched in late summer. you read a book like that and all of a sudden you have the sense of okay this is what it's like in alabama in august. to sit with a woman that is about to die and just doing the things she's done every summer before that. so, just a tiny bit of humanity and how could you have ever known you were looking for it

you have to read the whole book. the last question for me. you mentioned one crazy story about one of the readings. i wonder if you can tell us a little bit about the reception in alabama and what that has been like for you.

you can't convince them otherwise. i've been very lucky so far. there are letters from harper lee or experiences that they have had the archives were tremendously helpful he's worked on events and extremely gratifying.

we have people several generations back. it did justice to a story that they always wanted to see in print what they always admired but never really understood, so that events that patrick was referencing was where a relevant vigilantism is there who murdered her father and many of the grandkids were there. i've said this in a lot of places there are ways in which it feels no deals not real and s like a ghost story but a southern gothic novel but it's real life for these people.

it's an important events to have because it can carry the sentiment into the rooms like this where you may never go to alabama and see martin or lee but there are people and the struggles are real and the book hopefully make them feel that way. on that note i'm going to ask you all to prepare your questions.

[inaudible] do you want the statistics or the version around the accounting? people are bound to county think that he was poisoned. >> that is the kind of discrepancy between people that told me that and people tell me that it was antifreeze and a specific voodoo potion i go and request the death certificate and there is a story i didn't want to be in this book the

documents involved a lot of harper lee is reporting materials from when she was working on this case. she paid the same processing fee i thought for a while they might offer to be the young out-of-town reporter people were telling me they thought what i wanted to hear, but another kind of interesting thing about the timing town, one of the persistent things people said about the reference, and this is partly because he could turn

into a black cat i if he wantedo vanish quickly in harper county when she was there she adopted a stray cat which she calls reverend maxwell. [laughter] i was happy to know people were not pulling my leg as part of the story two years after he died in here and there and everywhere. it's interesting that's the story of the neighbor. i gather for you some of those strawmen as stories and superstitions and things and the reason they had the currency there is they were voodoo communities. love potions and get out of jail potions and some were just homeopathic remedies and it was a system of health care for

people who couldn't afford it or for reasons of racial segregation were not about to go to doctors or hospitals. so in the life insurance business there is a kind of surprising turn and michael lewis did a good job of turning the reverend into a super villain. the truth of the matter is it was extremely explicative at that time and there've been some tremendous settlement last ten or 15 years for african-american clients overcharged for policies or sold substandard policies so it went in both directions. the reverend might have been a good feeling that i think there are a lot of turns like that in the book where there is just two sides to every story. when i was an oxford mississippi he claims he's going to look over all of the autopsies and

see what he can come up with so if you have these areas, feel free to get in touch. but westerners come from corridors as well as the electrician. [inaudible] >> >> a one-man room, i like it. this guy. [inaudible] i'm going to lift up as much as i do alabama. one of the last interviews he

gave it's kind of interesting even though she lived until 2016 it's like one thing you can go and listen to and it's like 16 minutes she did an interview in 1964 so it's tremendous to tell the self-criticisthattype of sem storytellers in the way east 82nd street doesn't. she lived there when she said that. it's like a place of origin or something. she does make the point of how people have time to tell stories and it was my experience i would go visit someone for two or three days after they would pretend to come her morning coffee like when are you really going to come visit. or in the house for two months and it's like you are leaving already. i make a joke in the book if you

ask a question in alabama you either get no answer or you get a whole ideology for word the question began. i think it's just time, not capacity and willingness to share and i delighted in that, obviously though every community has similar things and i know this is a tremendous writer for the new yorker that has gone and gotten premieres to talk to and there's different ways to access different communities and if we are lucky we get them to open up in deep and meaningful ways. i neither take it personally in order to be indigenous to alabama. how about that? but i will tell you my friend did a tremendous amount of research for the book and god bless her she texted me one day

and said had i heard they were going to do a series of murders in small-town alabama i about died as i was in the middle of another book. it turned out to be in the county and i was fine. none of them had mentioned people were calling from new york to talk about their lives and the story, so i was glad they found something on the other side of the state. >> she started talking about the true crime project and beat the drum very loudly how she was doing journalism of the old-fashioned kind and only wanted facts. she then said one of the reasons she was struggling as she couldn't find enough facts that

she didn't turn out to kind of try the novel versions which made sense. she made her name as a writer of fiction except for a few pieces of journalism in the college newspaper and she had mostly written fiction so it made sense that she would try it out but she did all of this recording and gather all of these documents and paid the court reporter of thousand of dollars for the transcripts and went arounaround town for the cassete recorder recording the interviewinterviewthen type up d exactly what someone had said so she was unmasking the kind of material you would need for a nonfiction process. >> i will ask another. i could go all night. >> i will chang change what i sd about alabama [inaudible] [laughter] hours and hours of questions.

>> can you talk a little bit about the voice in this book, the narrative that runs through all three sections because i was trying to think about it it's strange knowing you -- hispanic it's a strange knowing me. [laughter] >> it isn't exactly your conversational voice. there are places where some of it is good uses of vernacular that blends with the very intense kind of resonance sense of place so i wonder how you thought about that when you thought of putting words on the page who is this voice an what s it sound like and does it have any relationship to leave the voice? >> that's an interesting question. i try to saturate myself in everything she's written and covers as many letters i could gather and anything she published. i mentioned that interview only because other than ike the dixie

chicks it's probably the most repeated mp3 on my computer because i would have if playing to listen to the voice and think about the choices and the kind of natural metaphors and things like that and i got more and more important the further i got into her section. so yes i think that in a book you need to be in the driver's seat, but you need to learn the pace of the road. i wanted to bring the way people talk and think about time. in my notebook i would note what people said and i did read a ton of those files and heritage books in the local history i would make notes of the different turn of phrase and try to bring all that in. i think the other thing that happened is i was like 11 or 12

and i started going by my middle initial in the seriousness of all things it was like a writing credo. what's most odd about the book is people that nobody would say she's hopefully funny and friendly and a the book is a serious and only occasionally gives over to humor and that is a product of now i sit down to write and this is the task of writing it needs to be accessible but they can't be anything but serious. i gave up my middle initial for this but only because to the point of alabamians this is a civil rights historian diane mcwhorter and she's in new york. some of you might know her. she wrote a treatment history of the civil rights movement and new harper lee. i got in touch with her and she knew a little bit about the alex city business and said there's

no other stuff in the world, no one is going to confuse you. [laughter] the most horrifying thing i ever heard that i got rid of it. i did it over and over again. hopefully it talks the way they talk and walks the way they walk, but i don't know. there are beautiful accents and ways of telling the story so it's hard not to just mimic. >> i think it works effectively. >> was there anything you have to cut frohad tocut from the bo? >> wonderful question. i don't think my editor is here. very little. i'm a lazy writer. i write more than i need but there is in fact the title of the book comes from a talk that harper lee gave. she hated to speak in public but agreed to give a talk in the 80s as a favor to one of her

sisters and was evangelizing for her favorite historian whose work has gone out of print and she's telling people they need to read him. she's an author historian because the history of alabama actually the bicentennial of the status of 1819 and the history of alabama stops when it became a state kind of oddly. and harper lee had feelings about that and said he was so enamored with the creek indians he couldn't bear to talk the stories once their empire have ended. she said as we all know i can assure you i didn't know him and probably didn't. as we all know, the creek nation came to an end in a few furious hours at the battle of horseshoe bend. i had read that a talk and i went to the horseshoe bend battlefield which is very near where she stayed when she was working on the book and if you can imagine she stayed at the horseshoe bend motel in town. i was thinking about all those places and they know ho i know e

loved history and i read a lot about the creek indians and i felt like for a story about violence, there needed to be a kind of archaeology of violence in the area and obviously when you write about african-american life in the deep south that includes jim crow into slavery but one layer below that it is against indigenous people. i managed to keep a little of that in the book and i feel the title for me is trying that in a way that hopefully accentuates it but there were like 600 words about the creek that started out the day moved to the lawyer and writer and moved right out of the book. but gues yes there is a tiny me. >> a few curious words. [laughter] >> thank you very much.

great question. the other thing that didn't make it i found a tremendous fact how the bison used across alabama to get to this old flicks of the ocean and i love this kind of -- alabama people do don't realize how beautiful it is. maybe there are some here but one of the reasons i loved writing the play cards and it's tremendously beautiful and i only knew the kind of industrial cities in alabama if you've read about the selma marc march you w selma and montgomery and birmingham, just beautiful natural landscapes around the state. i thought about the bias and over and over again because i wanted to have some sense of grandeur for a state that had very looked down upon. i mean my goodness, we were just down there during the abortion ban. there is a lot of evil and ill still in the alabama today that

i thought about them over and over and i couldn't quite figure out how to get them walking in the books of the bison and the indians if they look for a thousand pages they would be fair, but they are not. [laughter] >> [inaudible] it started as an article, yes. and the last line of that article had to do with a problem of documents in the family of the lawyers and the last thing i realllee didn't write the book someone else will. it's like why not me. that was the conclusion and it felt like an imperative. as the word gathering facts, were you compelled to write or

did you gather everything and then write the whole thing? >> i mostly drove back and forth to new york but i drove around california looking for somethi something. it's how to make it sound better and that number never grew. i thought i might be able to write a whole book that way so i was writing little section is and when i first wrote about the flooding of lake martin and this kind of opening scene of the reservoir and it's slowly rising either that was in my head for a while and i thought that's where that goes into bits and pieces of that.

if i had been reading tonight i would have ripped the opening passage which is one of my favorite characters and so sad she died at all before the book came out so she never got to read for herself or i think people would have been pleased. there is no editing to be done, it's just a two word that arrived at a.

while mowing the grass i never heard of anybody doing this report. >> there's that. not having the kind of notional ideas i was so happy i got to salvage.

to get a card for those trips to turn on the radio and see what happens. >> other questions? interesting question. what am i allowed to say it's not anything at all the number of people that did something in this book you made it a success and i am so grateful to have you

here i sometimes go around pretending i don't like new york. it's so nice to get to see you and celebrate with you. people would say how are you going to do this and instantly it turned into argument for going to do that again. so, more to come. how far into the research did you know you wanted to toe the story into three distinct segments and did it come right away -- >> i will put the language on it it felt like the way that it wanted to be told. there was no struggle for harper

lee. if you read the book you know she felt like writing and it's not my experience. i don't think it has to be misery. when did you know that you were done with the conversation? >> never. i'm looking for someone here where the book was in the bag. i couldn't even ask those places trying to make sure. i can't stop reporting so now i just accumulate and collect them and i love the facts about harper lee and i will probably still be writing this book 100 years from now. it's hard to put it down.

that's why i'm finished, everything is. i'm sure you are learning more facts about your books and you just keep accumulating information and hope somebody will write a better version and there will be more books so i feel some responsibility to do the histories and gather information like that so the next one can be better than line was and the long and short of it ithe shortof it is i can't stane suspense. i'm not made for unsolved mysteries. of course i pick up the phone and respond to the e-mails and keep looking for more info.

who is here that had a hand on turning the look -- andrew miller, what if you said, the last one is the one who had known harper lee and took reservations from lawrence olivia on what was to become british airwaves. how did i not see you? there's a strict moment if you buy enough copie copies you geta second printing to add even more. i just want to give a shout out to your endnotes.

there is a model of the generosity. i did get the chance and one of those eager audience members there's something about the seven sisters and they are very interesting i had a woman that was like i need to know more about the seven sisters. [laughter] go forth and conquer for the scholars and amateur historians it just feels like those are the people you want to lift up their work and i don't know how else you could do it.

i'm going to ask you in front of everyone. you shouldn't be with your wife -- andrew and his wife are expecting. i was worried i would have to send you home. [laughter] any other questions? you could have had robert and jim and all the people in the book. when they come up and say excuse me can you sign this. the incredible reporter in this book there is a great example he had been to harper's grave so we

went together and at that point all the siblings were there and it was like an earnhardt reunion. i don't remember how it started but there would be a bunch of other signatories. ... >> in the name of order and just sort of general, women have the signing the back of the space beneath where you see the magic rants. i was you had to get there. with time. de jure have a copy, go ahead

and get in line to sign right now. thank you so much everybody. thank you for coming. [applause] [inaudible conversation] a week, where featuring book tv programs is a preview of what's available every weekend on c-span two. like historians, policymakers, economists, journalists, and scientists discuss their nonfiction books. you'll see authors and bookstores, fairs and festivals and on our signature programs in depth and afterwards. enjoy book tv this weekend every weekend on c-span two.

weeknights this month we are featuring book tv programs, showcasing was available every weekend on c-span two. on friday, we show you some of our in-depth gets. author evan thomas your questions and talk about some of his books including dean mixon and most recently, first sandra day o'connor. next, university of pennsylvania professor, his books include several more how russian hackers help elect a president. and political scientists talked about his book on american politics and history including dukes takedown and the divine plan. watch friday night, beginning at eight eastern on c-span two, and enjoy book tv this week and every weekend on c-span two. watch book tv for live coverage on the national book festival. saturday, turning at 10:00 a.m.

eastern, our coverage includes author interviews with justice ginsburg on my own words. david sawyer, his focus the heartbeat of wounded knee. sharon robinson talks about her book, child of the dream. rick atkinson, author of the british are coming. in thomas malone, sounding director of the mit's center for collective intelligence. discusses his book super mines. the national book festival, five saturday at 10:00 a.m. eastern. on the tv. on c-span two. there is no book tv coming up next with surprise swimming george well, sharing his thoughts on the state of american conservatism and in an hour jared diamond takes a look at how successful countries recovery from crises in the book of people. >> next on book tvs afterwards surprise moment