tv Amber Tamblyn Era of Ignition CSPAN May 4, 2019 3:10pm-4:10pm EDT
is considered surrender, and when your political opponents are often treated as your political enemies, then a republic doesn't work very well. so i hope that something will happen to get us back on the track, where we can say once again, that a compromise can be a good thing. i'm not seeing a lot of it. but i'm keeping my fingers crossed. >> visit our website book tv.org to watch this program in its entirety. type the author's name in the search bar at the top of the page. good afternoon. and welcome to powell's city of books. please silence your cell phones, any electronic devices for the duration of our afternoon's event. some of the wonderful guests we're welcoming to powell's
include morgan parker and others. you can keep up with our amazing guests at our locations by looking at our calendar at the info desks and do follow us also via internet on all of our social media platforms. today we're incredibly excited to welcome back amber tamblin. as she presentings her latest book, coming of age during a time of rage and revolution. she will be in conversation. amber is an author, actress and director. she's been nominated for an emmy, golden globe and independent spirit award for her work in television and film. she's the author of three books of poetry, including the critically acclaimed best seller
"dark sparkler". author of the novel "any man" which follows the lives of a group of men who are attacked by a female serial rapist as well as the nonfiction collection era of ignition coming of age during a time of rage and revolution. she wrote and directed the feature film "paint it black" based on the novel by janet finch. [applause] >> it is available on netflix. she reviews books of poetry by women for a magazine and is poet and residence at amy poehler's smart girls. she's a founder member of times up. she lives in new york. we also have the national best-selling author of the book of joan. her widely acclaimed memoir, the chronology of water was a finalist for a usa award for creative nonfiction and a winner of a pnba award and oregon book
award readers choice. she founded a workshop series here in portland where she teaches both in person and on-line. new york times best-selling author of "american like me x" s says of era of ignition, unafraid to confront difficult questions in this turbulent time. amy poehler says era of ignition reminds us how powerful exhausting and confusing it can be to go through life as a human woman, a mad, frank, tender and very good read written with love by a writer who loves you. wow. following the conversation, there will be a q&a. and following that, you may have your book signed by amber up here at our signing table. we ask that you line up on this west side of the room going to the back of the room when that time comes. you may have your book signed,
and you can pay for them after they have been signed. at either exit. now, please join me in welcoming amber tamblin in conversation, here at powell city of books. [applause] >> this is like rushing from the convention center. [laughter] >> hi. hi. this is being filmed for c-span. [laughter] >> you guys, we made it. thank you very much for coming out on this saturday afternoon. it is saturday; right? >> yeah. >> god help me. also thank you to my husband
lydia for receiving my texts this morning and saying will you please come talk to me about this book? i know you have 5,000 things that you are doing and there's no time, and she said yes, always, and i very much appreciate that because i don't like talking by myself. these glasses are a mess. so this book -- this book is sort of part memoir, part cultural critique a little bit. it looks at our world right now and sort of this state of wild condensed change that we're all feeling, which feels a little stressful, terrifying. we don't know where things are going to land. how things are going to shake out, how things are going to end. i make a strong argument that that's okay, and that out of intense chaos comes intense clarity, ultimately. we have to stick it out and stick it through and know that there is -- we have to have a lot of patience and perseverance through everything that's going on in our country right now.
as lydia would say, in the face of --. so i'm going to read a chapter for you from this and then i'm going to ask my wonderful friend lydia to come up and we will have a conversation and open the floor to some questions, anything you have about the state of the world. big conversations, i suppose. what to read. that's always the -- i think i will read this. this is a piece i haven't had a chance -- a pleasure to read yet. but i think that it's relevant to many different forms of conversation. in this book i take a really pretty intense look at
inequality and the lack of representation and not just women, but marginalized women, women whose voices have been left out of the stratosphere of art, of medicine, of agriculture, of the entertainment business, anyone who identifies as a woman, and also non-binary people, people whose voices have been left out of -- that's my husband asking me where the laundry detergent is. that's apropos. [laughter] >> just sort of asking and wondering how we have been left out of any given conversation. so i could -- what i want to read is the part about medicine, which talks about how many different illnesses, you know, we have seen sort of an influx of autoimmune diseases which predominantly affect women, things that exclusively affect women like cystic fibrosis and things like that. there's very little knowledge about these -- about these
diseases that have afflict the body and that's because there's no research behind them and that's because there's no women in research. there's no women who are boards of directors in hospitals. there are far few women physicians as there are men physicians so in looking at the book, you will find across a landscape of industries, how the non-level playing field is a larger issue. it is not just about what we want or desire, but it is about what our physical bodies need. it is about what our voices need, our lack of representation, our lack of an ability to be seen or valued stems directly from the fact that we have not been let into these traditional rooms of power. so the book i hope offers some pro active ideas, ways in which we can be a part of the larger conversation, ways in which we can support one another, whether that's, you know, in communities
that you are not like you, experiences and livelihoods that are not like you. hopefully if you read this from wherever you come from, from whatever background you come from, whatever your life experience is, you will find a path and a way for you. >> a mere ten days after jody cantor and her coauthor broke the story of harvey weinstein's extensive history of sexual harassment and assault, woody allen quite predictably became the first man to publicly vocalize the worst fear lingering in the back of most men's minds. in a bbc news interview, allen said he felt for the poor women who were assaulted, but was worried about a witch hunt atmosphere, taking hold of the country. he quickly tried to clean up that mess of a comment by condemning weinstein's actions, but the subtext of his fear had already been unloaded on like
minds. the witch hunt atmosphere as well as being a great name for an all girl punk band was something a lot of men were quietly whispering to each other about. some even directly to me. quentin tarantino told me he had run into a popular male movie star on a plane recently, man who is a self-proclaimed feminist who had expressed that the fallout from the me too movement which i discuss a lot in this book in giving it a context of calling it 2017's me too movement because it did not start in 2017. it started over two decades ago by an activist. very well may be that men just won't want to hire women anymore. there were fearful rumblings of potential false allegations and revengeful ex lady lovers and crazy women raising hell in the lives of oh so virtuous men. talk of an atmosphere of witch hunting sounded more of a narrative belonging to a paranoid supremacy rather than a
long history of twisting women's intentions against them. a male play wright texted me to ask about the future of innocent till proven guilty. a concept that this 2017's me too movement seemed to be destroying with reckless abandon. i've often contemplated the phrase innocent until proven guilty and the presumption of innocence as a first rule when applied outside of the courtroom. to make a presumption is to make a choice to side with one party over another without consideration. this raises the question, what's the point of weighing anything when the scale is already imbalanced. while i understand and respect the importance of this principle, within the judicial system, i question its misappropriation outside of the law. it strikes me as an exploitation exacted by problematic men who hide behind willy nilly as though it can be applied anywhere at any time under the offices of their entitlement.
outside of a courtroom, and sometimes in it, innocent until proven guilty can't help but be flawed much like many of the laws created by our fore fathers whose intentions have naturally eroded over time, such as the right to bear arms in a world of printable 3-d guns. presumed innocent until proven guilty was coined by the english lawyer sir william garro in 1791. his aim was to force accusers to thoroughly present evidence in a court of law to back up their claims. sir william was a defense lawyer during the wild era of swift trials in england. trials that often lasted ten minutes and seemed more like reality shows for blood hungry audiences than what we know of prosecutions today. countersuits didn't even exist until the late 1800s and slap laws which are strategic lawsuits against public participation which are intended to intimidate and silence a case's critics were not
introduced until 1980. he was not thinking about a judicial world in which plaintiffs are burdened with frivolous discovery requests, tying lawyers up with meaningless hours of paperwork racking up legal fees and wasting their time. he was not thinking about the world of social media. he was not thinking about those types of aggressions because he didn't have to. they simply did not exist in victorian england or 19th century america for that matter. he was not thinking about how the idea would be applied peripherally and futuristically and themes of consequence outside of his own judicial vernacular. here we are, in 2019, stuck with the language of a defining principle that is so valuable and yet so vandalized. i'm not suggesting doing away with the burden of proof. i understand that this principle protects many people in a court of law and is not always used
vindictively. sir william himself used the presumption of innocence to rightfully defend teenage ch cham -- chamber maids, who were raped and gave birth on their own and the newborns died. if they were tried in courts, it would be the masters using the defense of innocence to defend themselves against stat -- statutory of rape charges. i do question what can be done to stop the egregious use of this principle by people who don't understand it. the hypocrites who denounce courts of public opinion are the same ones who use the language of the legal system to defend themselves within courts of public opinion but only when doing so benefits them. what would william garro think of today's world where accusations can be made with a
push of a button and cases can be wrapped up for decades instead of minutes in bureaucratic loopholes technicalities and tactics. a world where his principle is used by anyone for any reason in any context. innocent until proven guilty is often used as a weapon of mass destruction for aggressors who haphazardly award themselves immunity from boardrooms to bedrooms and beyond. their micro aggressions have become macro oppressions unilaterally silencing and side lining whole cultures, industries and bodice of people. -- bodies of people. furthermore how could they be proven under the 200-year-old definition? how does someone prove that she was not hired because she is a woman, because she is black, because she is trans? how can you prove you were physically assaulted at work if you are a sex worker? how can you prove your boss put
his hand on your thigh during a work dinner or that your voice and perspective had been repeatedly boxed out of important conversations in which they belong? it is long been the burden of women and minorities to point out these grievances and find solutions for problems we did not create. we hear the burden of having to prove this not just -- we bear the burden of having to prove this not just in the courts of law but in the interrogation and dismantling of the very language that has never taken us into consideration. my hope is that in this ignited era, men will follow suit and begin to find it within themselves to do dogmatic diligence, both by holding themselves accountable and perhaps even more important by holding one another accountable for dismantling the status quo. it is the only way to enlighten what has been in the dark for so long. i'm going to read one short
piece here. thanks again for coming, you guys. i was the seasoned soap opera starlet, the incidental, the accidental adolescent actress, turned adult apparition, haunting her own future by existing only in her past. i was the famous one, known for being unknown. i was an ideological in between, a neither here nor there artist, taken seriously by few outside of the poetry community and even fewer within it. i was the girl who was a blind spot in the mirrors of powerful men, the girl called upon to help rewrite workshop or give notes on scripts by men as an assumed favor, only to never be hired by them or to receive any credit. i was the secret weapon for everyone else's arsenals, but my own. i was a girl lost amongst
privilege and invisibility, forever seen for what i used to be, not what i am. that was me. that was me in the form of fading fire. and then that girl, that starlet, that in between, that some bodied nobody that fading fire was extinguished and the woman who emerged was done not just with not being believed, but also with not being listened to, taken seriously, heard, seen, counted, or chosen for the job. she was done with the doing of others, consistently asked by peers and positions of power to help them remain there without any reciprocity or consideration given. i was done with selling myself short so men could buy themselves success. and if someone with the access, privilege, and reach that i grew up with was feeling this way, i could only imagine what less well connected members of the even more greatly
underrepresented communities in my industry were feeling. what has been reborn in me is being reborn in every woman across the country. my return, my soul's dizzying upheaval, my identity's eruption, my trajectory's crisis, my raw dawning was mirroring the country's return, its identity eruption, its trajectory crisis, its raw dawning. we are a nation that is morally backpedaling, scared of change and stuck in the back pocket of social media's isolation and alienation. we are a nation that not only refuses to resolve matters face-to-face. we refuse to see eye-to-eye. we're not only lost. we're just now coming to terms with the fact that we have always been lost. and finding ourselves and others will take more than just
strength. it will take stamina. this is the age of action, this era of ignition. we are a collective cognition's fired up engine revving into revelation, unsure of where we are going, but knowing we can no longer stay where we have been. :: [applause] : : which is when amber texted me because i love her so deeply and so unapologetically, my first specs back was --
>> we know the answer to that. a hard yes. >> many nights in my life where just, i'm drinking scotch and you are drinking bourbon? and i just want to text and go, is it going to be okay? [laughter] or, what do we do next? or insert swearwords. what is happening, what do we do? [laughter] is my deep pleasure to be here with her. >> i love you. >> will you run away with me? >> yes, i will. >> want to ask you for something that came out of the second piece you read but it's in the first piece too. it has to do with the idea that there can be a personal schism or fracture one's life that may have parallels to a social schism or your time in the world whenever that time is. which you toggle in the book
between those. can you talk a little bit more about what came up in that second one? like what was happening to you and why did you see the parallel or when did it kind of coalesced that this isn't just me, it is also the world. >> yeah, a great question. i think certainly that the last few years in particular, especially with the election of somebody like donald trump, that we have been forced, all of us, i know myself individually, to really look at not only what i believe in and what is important to me but how i am relating to others in the world. and not just the great things we're doing but how are we failing? how are we feeling each other? how is feminism failing us? how are we talking about the things that we think we value? especially you know, liberal communities and but in the same, how are we not really
rising to the top of having the more difficult conversations and confronting what we have been given? either through privileges or through hard work but still not really allowing other people, other women to come with us and to help them get where we are. i talk a lot about this idea of you know, women linking arms which is an old image that we've had as far back as feminism has ever gone. but what about the woman behind us? and had to be reach back and pull forward in the same way that we wish to be pulled forward by the woman in front of us? so i think for me as i was coming to terms with you know, i had always felt like a guest in my own life. it's kind of the only way that i can describe it. and that i was only ever a woman for higher in my own story. i was always the woman who is going into someone else's room
and interpreting someone else's lines that they wrote for their t.v. show or the movie. and these are wonderful things. being an actor is a great honor and cleavage and i like it very much. but it is limited. i knew that there were so many other things that i had to offer and i talk in the book about this idea of an invisible alphabet. and you are a and you say glowing z and the future of who you are and you know that is where you will end up. but it is very hard not only to find the letters in between but to manifest them. and to know how to bridge and create the alphabet for yourself. and so much of it for me was feeling like if i didn't push, and if i didn't find ways to go out on a limb and change my own experiences and my own story, i wasn't going to survive existentially, creatively. it felt, i've said the activism
for wisdom is not a choice. it is a matter of survival. we do not choose to do that in our everyday life. i'm sure for some it's also the experience. i talk a lot about women because that is where i am and where my knowledge and my own personal experience comes from. and so i think in having that, i started to see in the conversations i would have with friends or with people at a bookstore while touring. especially last year, this real sense of people being frustrated by the conversations. especially for in heterosexual relationships. you know it is hard. these are difficult conversations when you are taking something, a system that has been in place predating the roman empire, and saying we don't want this anymore. and we're lifting it up or breaking it apart and literal
dismantling, it's a kind of wild west. everyone wants there to be rules with that. that's right hear people talk about that is not the right consequence for that person. you cannot compare what different people did not deserve the same consequences. but i keep pushing back and saying i'm not the first person to say this. jill solway per the most eloquently. we don't know what the consequences are. we are defined in the now. based on the consequences we will know how to move forward. we will have an actual path to say this is what we will not tolerate anymore. when i asking you for these permissions were not asking for the change, we are making it so. and i think in the conversations i've had with other people along my journey over the last several years, i felt people pushing back on this idea of saying, i'm not
going to wait to speak. i'm not going to wait to call something out if it is upsetting to me. i'm not going to wait to call in a friend that is problematic that needs my help or to reach across and say i don't know you or your experience at all, with nothing in common but i want you to see what i see. i want you to grow with me in the same exponential way that i am growing. they sort of happen, they have been happening at the same time and it has been a real joy to be able to talk to people about there are individuals in this wild roadmap of change. >> you want to say anything about times up? >> sure! quickly came up out of your face just now. >> i think one of the biggest revolutionary experiences for me in my own life has been my work with times up and i'm looking at what true intersection --
intersectionality. i didn't know what it looked like really and it was my work to do. and really look at not just looking within socioeconomic backgrounds and different races but looking across industries. and saying, how can woman with the access and privilege that we have in the entertainment business, help monica ramirez and women working with the farm workers unions and the women in the medical field who i just talked about. one of the great things, what happened with times up was that it was just woman getting in rooms together, who were mad! and saying we will change it but devoid of the usual you know, patriarchal point of view that is always there to remind you that you are not allowed to
change things. so without that we got to have this really complex conversation about how are we going to move forward. how will we change things and how are we going to just not make about us but reach out and make sure other industries are changing at the same pace as us. for instance. times up just started, times of healthcare. one of the things i like is that the idea that someone -- literally right now at powell's we can say, and there is, a huge problem in the literary industry. there is a huge lack of representation of women in different positions of power. whether it is on boards, again, on boards of different companies but also women as editors, women as writers, representation as writers, non-binary writers, nonwhite women writers, across the spectrum. we can say there is an imbalance of power in language
and story being told. and we couldn't right now, create you know, the literary times up branch and take all of us we can say i know editors. i am really great with social media. i can help us make posters. i am a killer cook and i will feed everybody while we are working. and we can create that. so what happened with times of -- times of healthcare. two women, one nurse and one doctor. they came and so we have a problem here, we need your support and they said we've got you. we have your back. that is how it was created. so remembering that it's not just about those with particular access and privilege like myself who have a public platform. but together we can create these communities of change enter member that our own power lies within our ability to come together and to create these communities and figure out what is really missing. which voice has been missing in the larger conversation in the larger context of how we are living the day-to-day lives.
>> am announcing my candidacy of the president of the united states. [laughter] [applause] i'm running for president of naptime. taking a very long nap! [laughter] >> i cannot be the only person in the room that hears the echo effect because -- old me. >>. [laughter] >> there is an echo effect of 1970s community building and a certain wave of feminism and a certain wave, the vanguard was women of color in case you have forgotten. >> yes. >> historical change happening in grassroots community organizations.so i guess my question is, raise your hand if you hear an echo effect there?
am i the only person in the room that hears that? >> mean echoes of feminism and movements before us. >> no, i am the only old person in the room. [laughter] my question is kind of about -- is this different from those other periods where the oppression and repressions led to the memory that we have to organize in community, smaller pods with another way is this era different than all the other areas of oppression and repressions that started since you know, the dawn of us moving from grunting to speech. >> yeah. >> and it doesn't matter to look at the differences and similarities across time? >> i mean, i think without going into a deep dive of feminist movements and waves, i think it is absolutely true that with every civil rights movement, which is what we are in right now.
when you look at, especially the work that tran has done with me to support survivors and make sure that they have access to many different forms of support. when you're looking at the things that might feel incremental to us, they might feel small they're actually really huge and what i talk about is this nation, the idea that every 7 to 10 years, we are rebirthing. we are re-creating ourselves and we've always done that. especially in this country. but also kind of in the world. because this movement has spread far beyond, it is different countries, it has created you know, we have the arab spring several years ago is a great example of looking at how social media in a good context was used to change an
entire country. and for women to find their voices that particular instance. but things always important to look back and reflect. just as i think what happened with christine blasey ford and the kavanaugh hearings. it was not just a teaching moment about reminding us that women are still being sized at the most public high levels but also running us of our history. reminding us of anita hill, the woman that came first, that first had this experience. the first woman to come forward and speak truth to power in that way. and have the entire livelihoods destroyed. because of that. this has been a teachable moment i think across many decades, across many civil rights movements. this seems to come and it's an ebb and flow. in this particular case, because i am living in it, i can speak for the entertainment business because that is where i come from. i will say that this is an
unprecedented time. and it may not feel like a huge change but the fact that say, you know, an unprecedented number of women and people of color were invited in to the academy, the voting academy. which they are responsible for the academy awards and things like that but there also success makers. that is how you get a movie to become successful as it gets nominated for awards. so what happens is, when you're voting block of members for the academy of television arts and sciences is predominantly white and male of a certain age, then the movies they vote for look and sound like their own experiences. that's been happening for hundreds of years. so the new voices are the reason we are now seeing like at the academy awards as last year with regina king and seeing jordan peele win an
oscar for a movie like that. that would not have happened five years ago. it is unprecedented and it's beautiful. but then you also have to remember, that while those things are taking place and changing, women were still left out of the top categories the academy awards. including best director, best writer, best editor, best cinematography, this is simply because while her voices are now let in the room, it doesn't necessarily mean that the patriarchal voices believe we belong there.>> right. >> now is about believing -- not believing but in finding value in what we had to say. whatever communities have to say.especially in art. so think their small changes. he looked at the four percent initiative that came out of sundance. her friend created that with an amazing director, it who is asking large companies like warner bros., netflix, even, to hire at least and work with, to
devote themselves to work with one female filmmaker year. to promise they will do that. the fact you have to say that that is like a thing to aspire to, to work with one, it tells you what a problem it is for women in filmmaking and in those outside of, women that are behind the camera. the fact that is being taken seriously, the fact that the people who are changing the game in the entertainment business are women like -- not only crating content in film and television, but bringing in filmmakers and making sure that television is staffed with women writers, with non-binary writers, trans writers. so when you see the creative process and what comes out of that, that is true to the world that is around us. we are seeing the stories that represent all of us instead of the few. >> right, i mean in some ways it is an old marxist idea or a
bass devised marxist idea that when their production returns the people actually involved in the product, that it will change the ground and change the terms. that reminds me of that a little bit. but i also want to ask, i'm going to ask one or two more and then let you in on it. does that sound good? >> that's good. >> are you ready? a little bit? [laughter] i have heard weird little chart -- chripings culturally.is it a little time for writers and actors to be mouthing off or is it to the periphery of the real work? so how do you come down -- i mean -- [laughter] such a setup! are the art makers, the entertainment makers, are they really the periphery or an edge
that is not really where the real work is? or -- [laughter] or what else? >> i mean -- listen, i certainly understand peoples feelings when they've got you know, a millionaire actress like alyssa milano yelling at them about whatever. and you live in a state where she is trying to defend francis, and georgia what's going on right now. they are trying to pass the heartbeat bill. and you know i can understand from that perspective of like you have this wealthy privileged actress trying to come in and tell us what we should do in our state. but it think is really important to remember that we are all artists. we are all responsible for bringing something to the table. no matter our level of privilege. and in that circumstance and that particular situation going on with georgia right now, the entertainment business specifically, has brought more than $200 million to the state
of georgia. but bringing television shows there. i myself have shot two films there and two t.v. shows. so it is important to remember that while we can condemn certain aspects of that privilege, it is also important to hear that when women are saying we will boycott the state because our rights to access, to choice, to the freedom of her own body in their own choice which has nothing to do with you. it is personal for everyone. it is like god. it belongs to no one but you and your own belief.and only saying that that matters, very much, and when i ask you, again, it's about this permission thing. i think it is so important that we remember that our artists sometimes have the greatest voices. i feel like writers right now are writing the most important work that i have read in 10 years. make sure you come whether to hear morgan parker. her new book is phenomenal.
so looking at the landscape of what everyone has to offer in their particular creative capacity, and knowing that it is our pushback. right? it is our ability to fight and feel a part of this revolution and to say that you know, we're going to keep writing and keep creating and we do have power in the entertainment business. that's what i think was so profound about the woman. as much as women wanted to scoff at and make it -- make fun of actresses that said they are going to wear black to the golden globes and stand in solidarity with one color, you remember that this is women that have forever, been told that they must have eating disorders, they must have you know, plastic surgery, that they are nothing other than a hanger on which to hang expensive clothing. and to shut up otherwise.
and so that was a moment and taking that back and saying, i hear that. but at this moment, this moment belongs to us. and we are sending a message by saying were not interested in wearing the couture dress that best fits us and we want to say something different. and bring woman to a red carpet. again bringing tarana burke, monica ramirez, woman to the floor and saying, this is what it is about now. we, the industry might still be shallow on us all level but we don't have to be. each of us individually. i think it is always important to honor and respect the honest and to know that it does not mean we are more than but also does not mean we are less than. >> is also kind of an argument to say that you know, to be honest with you, i think the present tense needs -- all of us, doing everything. if you are the person that makes eggs in a restaurant produced to make eggs differently. if you are an actress like
alyssa with lots of money should do that deeply. if you build houses you should do additionally. if you're married you should do it differently. >> i like that. >> to say should shut anyone down to the point of silencing and taking the agency away from it, whatever it is.yes, we will blow it, we will do it wrong but to shut any realm down right when we are starting to talk to each other again seems absurd to me. >> a lot that i read about in the book too is sort of the importance of you know, i read a lot about men in positions of power. and my own struggles with that. but that none of this can be done without men joining us. and to be really part of the process. and that all of us i think it really benefit from doing more listening than we do talking just ironic because i'm up you're talking a lot. but meaning that we can benefit from saying like, especially
again, the men in this room are not saying i know what the answer is. but to just ask. ask the woman in your lives, ask your wife, ask your mom, your sister. ask women at your workplace. what do they need? what are they missing? what is happening to them in their experience during this? not to get scared. i think the defensiveness is the greatest danger. we can't be defensive right now. we really have to go into this being prepared for this to be uncomfortable. it is okay for it to be uncomfortable. that is all right right now. i'm telling you it's okay. get uncomfortable. it's okay. it is god for all -- it is good for all of us. it is about all of us and making sure everyone is coming to the table with an open mind. questions? >> so, yeah.why don't you get in on this. if you let me i'll just take her. [laughter] there you go. >> i think they are going to --
we have a big boom mic coming over. c-span! >> now i can't hear myself. [inaudible] amplified here, thank you. >> as an artist and someone the restaurant isindustry and men that kind of act like you are there little fun thing to kind of you know, that level of disrespect i have always encountered. and i know how to stand up for myself. i know how to communicate, i respect myself and you should too. but i am wondering, how in your opinion, how can i convince the men around me that it is not just important that you respect me, it is necessary and you
have two. and how do i convince them that that is important for them to understand and to actually make the change in their life and their behavior? what will give that value to them? what would give that value, what would put value in that message going into their hearts and their minds and in their life? >> i mean it is hard. i think some men are lost causes. i think some women are lost causes. and i really dislike saying that. especially when my great battles right now, is talking to my extended family. my white female cousins and my aunt, my conservative side of the family who would love nothing more than to write off. but knowing that i have the access of their year so i'm having a difficult conversations and trying to find at least one thing that we have in common that we can agree on. in the hopes that i will hope they will not vote for donald trump in 2020. the might consider somebody
else. it is hard for me to know without knowing a particular instance but i think it's always, a particular person or situation, i think it's really important for us to, is my friend rachel says, coven up. which means to find the woman our community, to find other woman that you might be working with, because we are more powerful in numbers. also especially in academia and in large corporate world, people are really afraid of things in writing. when you send things in writing, from a group of people, maybe you want to put a # at the end of me too or times up it's really scary to people right now. [laughter] it is! the woman that you're working with, that would be willing to support you and say will go to her boss. we don't want to accept this anymore this is a letter from all of this. when it is in writing, it is notjust words.
it is not just , it cannot be written off. there is an evidential piece of work. and when you're doing that, maybe there is like -- maybe your boss is cool. maybe he is a rad guy that would support that or maybe another man you work with. maybe there is somebody in there who is willing to step out and be an ally and put their neck on the line. you do the same. finding the people that you can be supported by. and not having to worry about, not having to do it on your own. sometimes we do not have that. sometimes we don't have people that can support us and are willing to put their livelihood out on the line like that. that can be tough but look for it. see if you can find others and create a sense of community for your own work position. and then be ready to speak and be ready to say what it is you want to change and what you want to need. and what you need to change in
any given working atmosphere. in any industry, no matter what you are doing. i hope that answers your question. anybody else? yes? right here. no, you! >> she is just waiting. >> i see. >> for the coming 2020 election, sort of in the face of all of the other issues that have been dominating the news with venezuela and the mueller report, how do you think that we should best proceed with sort of keeping the women's aspect of it, more in the forefront instead of moving behind russia and other things? >> good question! i think there is, first of all you have for the first time, i talked about the four percent in the entertainment business. i talked about the change happening in the entertainment business as far as seeing more representation in positions of power but that is you know, you can say that for politics too.
it is the first time ever, we have choice in our politicians, and people that are running. the first time in history of thy states of america that you can say, there are multiple women and now i have choice. now i can really examine policy. now i can really look at them and figure out who is the person that i think would be best to run the country. ... >> we are going to be standing up to the status quo. it is important to keep nurturing and raising a solution to their voices and being in these positions of power, to keep talking about it publicly, keep saying this is the way we want to be going, this is the right course, that is so
important. besides the mueller report and all that concern, to be that does not matter, that is not what women care about. i don't really know a lot of women who are worried or concerned about the mueller report. we are terrified that the roles will get reversed. we are terrified that healthcars in this country, we are terrified about being anything anything untoward of what women are supposed to be. i think keeping the narratives away from where the patriot perspective of where we want to go, what we want going forward and we want our representatives to look like, one most important thing for me about this is so many arguments that i have had over the years, no matter how anyone feels about hillary clinton and her policies.
it was so important for me to it say this is about the living embodiment of policy. what does it look like when you see a woman in a position of power, not just when a man is grading policy for women. it is the same idea of saying i'm not the one in the room to say i have the idea, i know what's right for you, because we do not know what is right for the people, it's our differences that make each and every one of us powerful. so we have all of those differences. in seeing what that representation at every given position apart. seeing crazy rich asians at the box office of the grossing film in 2018, how does that feel, for the asian american community, how did that feel to see them there. keep your eye on the prize, and remember ultimately that is what we are striving for, everything else is noise that we can drowned out. every time, it's a 24 hour news
cycle constantly looking at the mueller report. there are so many other things going on right now, i wish they would be screaming and talking about. >> i love the idea too. every morning i have a new idea of things to help me in terms of your question, it's a little bit creepy but not that creepy. i get in the shower, so i'm naked. [laughter] >> go on. >> i look at my body and i try to remember and keep my body up front in my thinking every day of my life because every day of my adult life somebody has been trying to take it away from you. legislatively, medically, relationship wise, culturally, in terms of art, business, in terms of money, so i look at my own body -- i think you're pretty cute so don't feel sorry for me. i'm not dissing myself. i looked down and i go i'm still
alive, i'm worth it and i'm not going to get distracted. which is kinda what amber is talking about. >> that's a far better answer to question. i went on from a political tangent. [laughter] >> another think of 200 2008. >> you have time for one more smallest question if i'm not mistaken. >> you better be a good one. >> we can also wrap it up if no one has questions. >> there we go. >> week with mike. >> so, looking at this country and the most impressive things in it, capitalism,. >> oh boy. >> how do you reconcile that with the industry, art,
creation, coast-to-coast, flyover states, how do you reconcile capitalism with feminism? >> how do you reconcile capitalism and feminism. that is not a small question. [laughter] catcher asked me if there's going to be a sisterhood of the traveling pants three? [laughter] >> this is what i asked for. i wanted and i got it. you'd be primed for such a question. reconciling anything feminism is very difficult. i certainly think that capitalism has done great and terrible things for this country. i would have to wrap my head around the question and give you
probably a larger better answer. that deserves more time. >> feminism is a underwear that shapes on purpose without anyone's permission or apology. [laughter] [applause] >> that's why i asked her to come here. [laughter] thank you lydia, thank you so much for being here and being a part of this conversation. i love you. >> thank you guys, can you give it up one more time for amber. [applause] [cheering] >> thank you. i will be here signing your box. so thank you, think again. [inaudible conversations] >> tonight about tv and from time economist tyler cowan argues that large corporations play an important role in our
society. valerie for counter passed to the white house. sonia tells a baltimore turned spy in world war ii. jennifer eberhardt discusses places racial bias. in adam schiff and mark meadows are joined by washington post reporters to discuss the mueller report. that is all tonight about tv. check your cable died for the full weekend schedule. >> recently on our author interview program "after words". investigator reporter discussed the careers of jared kushner in ivanka trump. in their roles and the trump administration. >> this is really dangerous stuff, jared kushner doing the policy in the dark, cutting out the agencies to keep our country
safe the national security council and we talked to jared kushner does understand that because he doesn't come from a world like that, even transition, the former president of goldman sachs was right next to jared kushner is horrified, he kept mentioning the jared was never there, and he said because he knew trump wasn't there and he could see trump for the cabinet. and i don't know it's a marked secret. gary said to jerry, jerry and you realize everything that you do wherever you are going you have to take a lawyer, you have
to take somebody, you can just not go off and freelance. jared does not come from a world where he thanks that these kind of things are important. >> you can watch this and any of our programs in their entirety booktv.. >> every year booktv covers book fairs and festivals around the country, nearly 400 today. here is a look at some of the events coming up. >> next week in the world play book festival takes place in minneapolis, then we will be life from the get this part was festival in maryland. later in the month look for us a book expo in new york city, the largest publishing treatment in the united states will be live in chicago for the printer's row festival on june 8. and later in june, tuning for our coverage of the american