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tv   Marie Brenner A Private War  CSPAN  May 12, 2019 7:25am-8:11am EDT

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thank you so much. thank you for being here. >> thank you for that great discussion, i think everyone for coming out tonight. she is offered to sign some books so if you're interested you may just grab them off the display there, have them sign and purchase them off the first floor. [inaudible conversations] >> good afternoon, everyone. hello? thank you for joining us for the
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seventh annual san antonio book festival. i'm katy flato and i'm the founding executive director and the cofounder of this festival, and i'm not sure of our governing board which makes me very proud. it is an honor and a delight to welcome all of you here today and to welcome marie brenner, our guest. a few notes, first, marie will be signing her book immediately following this session in the barnes and noble sales and signing tent which is just across augusta street here. the book festival receives a portion of the sales from barnes & noble, so we thank you for your purchase of the books and the proceeds that we receive and we also thank barnes & noble, our partner since the very beginning of this festival. i hope you're all turned your phones off. also at about 15 minutes, ten minutes at the end of the session we will do q&a. if you have a question please
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raise your hand and someone will come over to you with a microphone, and wait for the microphone so everyone can hear your question. the book festival host literary events throughout the year, such as our get lit free series that are often here at the library. we do these authors visits in schools as well, and to keep up with our activities and to support and help grow our literary community, please visit our website which is festival dot essay and you can sign up for the newsletter and get updates about what we're up to. and also if your instagram and twitter, -- marie brenner, a world-class journalist and best-selling author of seven books who has exposed big tobacco scandals, covered bernie madoff, reported on anti-semitism in france than
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perfunctory things joint industry as a special correspondent in 1984, then left to become a staff writer at the new yorker in 1992 and then return to "vanity fair" where she is currently a writer at large. the work in her latest book, "a private war: marie colvin and other tales of heroes, scoundrels, and renegades" has been described as quote representing long-form journalism at its peak. it is a collection of stories written over many years going back to the early 1990s quote the golden age of magazine reporting, according to marie. the profiles including the first african-american woman appointed to the federal bench, nobel prize winner malala yusuf i come tobacco whistleblower jeffrey wygant wrongly accused security card richard jewell, and not one but two on trump, first in 1990
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and more recently in 2017 are tied together by a resolute or to use her own world, obsessed, reporters determination to hold power to account. so let's start with that notion, the search for truth and facts. marie, when we talked earlier you said you were drawn want to right the wrongs and credit this track to your fathers own outraged at injustice. could you maybe begin to tell us more about that in a possibly going up in san antonio, texas, they also have influenced you? >> katie, thank you. it's a joy to be here. i'm just come when they come home to san antonio and i walked on houston street, i think oh, my grandmother came to san antonio first from germany, then to mexico into san antonio and set up with my grandfather in
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1916. what a journey that she made 90 years old she made it too. i was really hardwired to be a reporter from this childhood. my family were storytellers. my father really believed he was a one-man district attorneys office. he was running so low serve usually, it is a chain a small discount stores that my grandmother and grandfather started during world war i. he really thought of himself as a kind of amateur mayor of the world. and so the solo serve bags you may remember those were old enough to remember had thousands of handbills that they would be stuffed into the bags as a five or six doors that the chain grew into and it was every corrupt obsession my father had to expose. other fathers play tennis or
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golf. no, not my father. the conversation at the table was we have to get the senator, we have to get the mayor. they are drifting. trying to destroy a historic neighborhood and i'm going to fight them. and he did. he was a hilarious character, a contrarian. he drove most of san antonio absolute wild, but reporters at the papers loved him because they got scoops from him. like the funniest moments would come from a father with the sort of a glass office that overlook the buying floor on solid at street which is now become the hotel, he would get out on the microphone and he would say attention shoppers, attention shoppers. the great celebrity leonard, the head of the estée lauder corporation is in our cosmetics department right now trying to figure out how we sell all the brains to 50% of what you can
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get them for in new york. i want you all to go down, i want you all to go down and give a big san antonio hello to leonard lauder. like this actually happened. it's like it's hard not to think when, you know, how this is not a one-man show to be able to do this, but from that moment on i was really hardwired. my father believed if you're put on the planet you had to speak truth to power. i remember him once telling me if you want to understand the vietnam war all you have to do is figure out who is getting the highway concession to build the roads in vietnam for that corrupt s.o.b. lyndon johnson. and as it happened that person lived about five houses down from us, but no names. [laughing] >> well --
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[laughing] we could probably spend the whole session talking about her dad. save your questions for later. so back to the book, it seems there's another thing in terms, in terms of the role that the press place in these stories. most so than with american journalist marie coleman who was the store war correspondent for the british newspaper the sunday times from 1995 -- 1885 until her death in 2012 when she was covering the siege of homes in syria. the book, "a private war," the story of private war is about marie coleman. she was suffering from severe traumatic poster medic stress and also serious alcoholism. she had seen more conflict than most soldiers because of all of the assignments that she had ass a war correspondent. and yet back she went with all of these issues.
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her editor encouraged her. >> absolutely. what's interesting about marie colvin, another marie which is not such a common name, marie is an american who grew up in long island, the daughter of two teachers. and since we shared many friends in, but there were extraordinary parallels because she was hardwired to become what she became by her father it was a huge political activist isil long island schoolteacher. he used to take her on his shoulders to rally in washington to end the war in vietnam when she was a child. she talked her way into yale. she completely missed the deadline. she missed everything and they took her because she was phenomenally smart. when she got to yale her father unfortunately died quite young and she never got over it. but at yale she had a formative class with the great john
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hersey, the new yorker writer who of course did the masterwork hiroshima about the japanese, you know, the balmy of hiroshima. he talked to her about the need to show the struggle of humanity and what ordinary people go through in times of war. marie from time she was a teenager really understood that she had a mission. she wanted to fulfill her fathers mission and she went, she started work at "the associated press," with two friends and then when she was in france in the early '80s it was an exhilarating time to be a young reporter because women, marie was a sort of third gender. gender. we're both very lucky because we had diminished fathers who taught us and inspired us it didn't matter as a girl, whatever, you could do anything. in my own family, just a slight
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diversion, an aunt of mine, for example, had interviewed trotsky and a blindfold for the "new york times" in the 1930s. so there there's no sense of gender confinement in either my family or in marie family. which was wonderful because when she got two pairs she was then sent to libya to try to get an interview with this crazy new despot, you know, gadhafi. she was an extraordinarily attractive young woman with the world of curls and she broke away from the press pack and she spoke enough french to convince gadhafi guards that she was french and she was summoned to see them at 3 a.m. and and of e course are so attractive he wanted to try to seduce her. when she goes into the underground palace, he had laid out a kind of gold captain for her to put on and he came out
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wearing a cape. the first thing he said to her was, i am gadhafi. she said, yeah, no kidding. so she was off and running. that was an international scoop. she was able to talk to gadhafi about a plan reagan had to bomb libya or he was going to bomb libya, and that became a scoop that then got her hard at the sunday times. she was event a a young woman n her early 30s and suddenly she was in probably the finest newsroom in the world for international war reporting, and she became more and more serious as a thinker and as a person, and she would go into any war zone. she was first totally traumatized by a lebanese can't that she was in where she saw a 12 year old brutalized and killed by terrorists and she saw this young girl dying and
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operating table with a makeshift clinic. then she snuck out the tapes to expose this camp to the world, and that, it became more and more and more. >> again the role of the press place a scene. there are ten profiles in this book and one of them which is, you know, this is probably one of your biggest stories is, you might remember that in the olympics in 1996 in atlanta there was a terrorist bombing at the centennial olympic park, and it was a security guard and former policeman who was wrongfully accused, richard jewell, being the prime suspect. and the way that the press, particularly the journal-constitution overturn this means life by assuming that he was guilty before any real
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evidence ever had surfaced. why don't you talk about that? >> i'm always drawn to stories of people who are caught up in extraordinary circumstances are caught in a vise. the case of richard jewell, there's usually an engine that drives writers. in my case i think because of my dad, it really is justice and lack of justice. you probably remember in the atlantic, the atlanta olympics there was a bombing attack, and this don't be security guard, richard jewell, was wrongly by the fbi. in "the atlanta journal-constitution" ncn in an even the great tom brokaw just put on the air that richard jewell was probably the assassin, the bomber. richard jewell had his life essentially ruined. he was picked up by the fbi. he was interrogated. they did microscopic examinations of the hair on his
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head. they took every possession of aa small apartment that he shared with his mother. i was just so struck by how do you, if once you get into the system, it sort of like an american guantánamo, how do you get yourself out of that situation? in this case it became the story that richard had been an office boy for a lawyer who was a contrarian lawyer, watson bryant, whose father had been a great football there at west point but he was always the kind of rebel and he was operating in a one-man office. richard had been an office boy for him when he worked at a law firm in atlanta when you first starting his law career. so watson bryant sprung to the rescue and literally took on the entire united states government and got him off and got them out. but the very fact that the press had so miscalculated this, this
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became a syndrome called the jewell syndrome. that reporting was done in the late '90s before the web completely took us over. but in the way it's a fascinating sort of precedent episode that happened of the danger of rushing to judgment, the danger of false accusations, the danger of not checking things. and it's where we are. >> all of your stores are so famous, they are easy for anyone to remember because there was also the tobacco whistleblower, and again the role of the press 60 minutes and in this case it was they had the story. it wasn't that they wrongfully accused anybody. they had the story but were prevented from running it. >> so this was a story of jeffrey. >> guest: increasing the movie the inside which was based on
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this story, jeffrey was very, very brave whistleblower, and angry just unapologetic angry guy who got into the way of the powers of the brown and williamson tobacco company because it became immediately clear to him that they were poisoning the tobacco to addict kids. it was, he, he went to the right people. he was a scientist, i can muster he said you cannot do this. they of course shut him down. it was a a version of what the pharmaceutical companies do. they went on a smear campaign when he went to 60 minutes. it was all done completely anonymously. it was like no one you he was doing this, and his name just begin eking out into the press. like one little item came out about this whistleblower, the 60 minutes piece was killed before it aired. we knew so little about him, we
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called in jeffrey wigand. many times i've been asked how did you get him to tell you the story? how did you get this story? can i tell you, i just called louisville information, such was my skill. do you have a home listing for doctor jeffrey wigand? yes, one moment please. it's like so i just eke in calling him and calling him. of course he was hanging up. he was hanging up. he begin getting death threats from the tobacco company. but more than that, and again and moment which predicts the moment we are in right now, there was an immense campaign and a couple of million of dollars paid to an investigative firm of smear artists essentially to put out a public statement all through the press that he had beaten his wife, he had done this, it than that come he had done this. it was so extraordinary because this public relations man who was really doing it with someone
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who is close to the editor of "vanity fair." the time i was reporting this story, so he was immediately put on leave, and i will never be able to say my gratitude enough to grade and carter for doing this and acting in such way a y that i was allowed to do my reporting, because when i see now the way that the law firms and the public relations firms are protecting my current passion is to write about russian kleptocrats and the money-laundering. >> so that story which was called the man who knew too much inspired the movie which marie mentioned and referenced called
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the insider, those in 1999 movie with russell crowe as jeffrey wigand and al pacino as the season tv producer 60 minutes. let me know that it's been an exciting last couple of years for her in her new role as she is turned her attention to producing pixel last november maybe some of you saw a private war. it's a fantastic movie. very, very well done and based on the 2012 article in "vanity fair" that marie wrote. out next year is where's my roy cohn, which explores the life and times of roy cohn and his mentorship of an upstart mogul named donald trump. tell us about your newfound interest in producing, and what's coming next. >> well, storytelling is of course as a san antonio what i'd
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love to do, and this is just another way of telling a story. i have been very, very lucky because when you do this, it's really a collegial effort. i have been very lucky. a private war was beautifully directed, magnificently directed i matthew heineman who'd been nominated for an oscar for his documentary cartel land. he was so passionate, he's been often in the war fronts and he was so passionate to tell murray's story and to tell it well. he worked so diligently with the cast. she took on the pain of marie. to get people to have the thrill of watching a world-class talent learn who marie was, essentially inhabit her in second inhabit her pain.
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when i first met her she become -- should already come transfixed by marie and was writing essays about who she was. and then she can desert unusual. her on should already started doing all kinds of research as if she were a reporter. one of the things i was so stunned by is she went to work in lebanon for two weeks, left her small children, went to work for a mining ngo that finds mines that are still buried in the ground. she said because i wanted to understand the level of fear marie colvin coleman lived wita daily basis when she would be in chechnya or be in iraq and the bombs would befall the owner. i had to be able to understand what that level of fear was. marie died, you may know, famously in 2012. she was was really one of the
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first reporters toward about bashar al-assad, and she was in the town of homs as they were showing us how will she was in which laughingly called a quote media center, but it was only six journalist living in sleeping bags that they had to get into through a tunnel that took like a mile-long tunnel, this was a woman who was 56. she had ptsd. she had alcohol issues. she had a bad back and she crawled on this, with a photographer paul conroy and her fixer like this, like crouched down for over a mile to get into this town. when she got there, the rockets were coming down on her. because she was a woman of her generation, she never really understood that she is going to be targeted if she used her cell
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phone. so she tried to warn the world using anderson cooper's cnn broadcast. they hooked up and she took it into a clinic where she talked about a little baby that she watched dying on the table. this was a kind of extraordinary moment where you realized that they exemplified what reporters are now living with right now. the idea of a journalist who put themselves under fire. we see this all the time. we hear these names, jamal khashoggi. we hear the name -- remember the woman who died in moscow, that she was just assassinated by putin in her apartment building. this year there are 50 for every type of issue. 700 that a died in the last few years. to be able to show this on a screen, to get back to this long
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texas side winding story, but to get back to back in to the bluw this on a screen has such power if you are lucky enough to have film makers who share that vision and to want to make this their mission. >> and, of course, their source was marie's fantastic "vanity fair" article. i love how you talk about flying to just days after marie colvin was killed in 2012 and finding marie colvin photographer who you mentioned and how we felt so strongly about making sure that everybody knew who marie colvin was, that he came to her memorial with his eye the poll from hospital because of course he was terribly injured in the same attack. and so the people who loved marie and respected her for
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continuing to go back out and feeling, she was going to use your word, obsessed with leading to report the truth and let everyone know what is was goinn in the situations. >> one of her lines that she always used to say is you have to know when you should be afraid to be afraid. she would say things like it is our obligation to go in and tell the story of those who, of the voiceless. when you think about marie colvin and who she represents, again this is something that has such resonance for me. i think right now in america we all grappling with this kind of universe debate, which is who are we not as a struggling society? i was making my notes on the way down in the plane and are so many commonalities right now. we all struggle right now, how to be kind to each other, how to
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show respect as a country is so divided. how to try to listen to the people that we disagree with or may disagree with so violently. what marie colvin was doing essentially was taking those basic human feelings and taking them to the field, taking them to iraq where she helped dig up a whole burial ground of bodies that saddam hussein had just killed and slaughtered as all their widows were watching from the side. imagine this american young woman, not so -- then in her 40s, who would figure out how to get behind this enemy lines, to get that bulldozer. this is like, this takes such fortitude, and she's an inspiration for all of us. >> and 90 and it was was her determination to report on those
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scenes that was her demise because it was her sat phone that she was using that they track to find where she was and he ordered the bombing of the spot where she and her photographer work. >> so just like in the case of khashoggi, marie was targeted by assad and her sister had mounted a brilliant legal case against syrian government which she just one way that absolutely prove that she was targeted. essentially she was murdered by saddam. we are seeing this more and more and more around the world in a way that one can only fear right now with the amount of press hatred that is being generated by president trump right now, and the terrible violent episode that happened at the newspaper that just, you just wait and you just wait with horror if you reporter of had to go out and
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cover. one of the interesting things about working on this project met heineman was matt was reconceptualizing the screenplay with the screenwriter while trump was running for president. we were like in a split screen reality where, on one hand we would have liked the tv on, msnbc would be on and we would see trump like screaming at the press and we would see cnn reporters closing the laptops and scurrying out the door. and then we were working on reconceptualizing, showing how marie colvin was in the sort of same circumstance putting her life in danger every day to bring the truth to the world about what was going on. >> so the other movie that is coming in 2019, i think so, or did already large? where's my roy cohn?
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why don't you describe this since were talking donald trump. >> roy cohn, perhaps the architect of more evil in the 1950s than almost anyone in in the 20th century, you know, famously senator joe mccarthy is motivated became the new york fix it. i see all of you nodding. you all know who roy cohn is. of course donald trump was his last and probably come if he were alive today, his best protége. roy cohn has always fascinated me. i met him when i first started reporting on trump in the early 1980s 1980s and had gone to work at new york magazine. once he went to roy's townhouse, you never forgot it. first he was radiating evil turkey was the personification of evil. but he per side in this peculiar ramshackle townhouse on 68th street, and he collected stuffed
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frogs. so stuffed little teddy bear frogs, in his office. when i walked into his office he had about 200 little of those frogs on his sofa, and i sat down. hello, mr. cohen. and like dust came up from all the dust kitties keep up from all these frogs and i was sitting on the. so to amend a kind of cloud of dust. he was working his rolodex is. he was working his rolodex is. he was extraordinary looking. he had so many facelifts and plastic surgery that he had scars around his ears, and he was obsessed with young donald trump who at that point was about 35, 36 and was a comer in new york, the kind of like a hilariously bulgarian to adjust redon the highest, and it just redone the high picky was building the trump tower and he
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was the moment in your about 1980 when we went from discretion in the sort of wasp society to the trump ohmmeter of growing vulgarity. roy cohn, all he wanted do was talk about how trump needed him and called him 20 times a day, he told me, 30 times a day. he's obsessed with me. he can't go a day without my advice. roy told me. i spent a bit of time with them and with donald, and to see them together was like this odd ballet is kind of to see this kind of a vaudeville act. the two them going around as why was introducing him to every major player in new york. they had gotten together because donald's father, fred trump, and trump himself had been accused of racist housing practices in the apartment complexes. it was so bad that they had a
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seat on author housing applications to meet code. roy gave him his rules of life, which is attack attack attack. never defend. never defend, and if you lose, declare victory. so the most -- [laughing] soon after he got into the case, they called a press conference. at this crazy camp front -- discomfort in europe they announced they were suing the justice department over this case to anyone has gone to law school for four days knows that you can't sue the justice department. but nevertheless, there they were up there smiling, preening, laughing. >> were going to take some questions. i'm going to ask this one last thing and we will go to you in the audience, what i'm so
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intrigued because marie, you have worked for so long with so many famous editors, tina brown, wayne watson and met so many great writers and develop so many crucial sources. who has taught you the most and what do you value the most out of this long career of journalism, especially in the golden age of journalism? >> i have learned so much from so many people of all ages, young and old but i but i justp coming back to san antonio. i learned it all here in the san antonio of lyndon johnson days and the san antonio of this beautiful aesthetic that never changes, the san antonio of great storytellers and listeners. that was my training ground. >> thank you. do we have any questions? [applause] >> can you tell us if where is
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roy cohn in the can, and if it is what is the next what's the next get that you would like to get? >> so where is my roy cohn premiered at sundance this year, and matt turn our who's a very, very brilliant documentary maker, has in many terrific movies, studio 54, he has been the director. .. >> different series, one of them is money laundering. [laughter] can't tell. can't tell. won't tell. >> we have a question in the
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back. >> i have not seen this in the media much, but a gentleman by the name roman abram witch, do you know that name? >> i do. >> he has the contract for the pipeline that goes through standing rock, right? this is putin's compadre. >> yes. >> and trump is bent on building the steel slat fence, and somehow -- i haven't seen this in the news -- he has a contract and met the specifications set up by trump to build the steel slat fence. that's at least $5 billion they're trying to the make there. but why hasn't the media covered that at all? they're all hanging out. his ex-wife was dating joshua kushner, and then her and ivanka were at wimbledon watching the tennis matches together -- >> and your question?
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>> they're all intertwined. why hasn't the media coveredded this at all? >> thank you. that's a very good question. actually, a lot of reporters have been very, very good on all of these connections. and when you start looking at money lawbderring, it's very interesting. after 9/11 we passed the patriot act, and we made most of these transactions illegal, but there was one big exception, real estate. and after that you will -- if you look at the history of the trump properties, there are those who have written, like craig unger has just written a terrific book, and in it craig are suggests that over 1500 of the apartments in all the trump properties are these laundered apartments. and this is, this is -- america has become the kleptocrat capital of the world really because america has a structure now where many, many of these structures are perfectly legal. except, you know, the real
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estate -- and out comes often i through real estate. >> any other questions? then i will ask, you know, the journalism from -- e keep returning to the golden years of journalism because it's so fun to read about how marie, they would fly her to, you know, europe, fly her to south america and give, you know, long time for people to write long stories with lots of sources and various contacts. but now journalism is so different from those golden years and also the political culture with awe taxes on -- attacks on the press and the destabilization of the truth and challenging facts, it's hard and important work. but what do you say to young people today who want to be journalists? >> well -- [laughter] i say a lot of different things like apply to law school, you know? [laughter]
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because you can do more. they can often do more in the courts. no, it was very lucky to come up in the 1980s when magazines -- if you were on a content the company, as they called it, they were flush with cash and ads, and they would send you everywhere, and sometimes we had a hundred sources. this kind of journalism, although it's rarer and rarer and newspapers and magazines are shutting down every day, just this weekend jonathan moller and jim ruttenberg from "the new york times" have a stunning report they've done on rupert if murdoch's -- rupert murdoch's kingdom x. in it, they've spent like 150 sources they interviewed. it took them a year to do it. that is right out of the golden year of journalism. so if you have the financing, what i would say, you know, is how do we get our reporters financed. how do we -- i mean, amazon,
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jeff bezos has financed "the washington post." "the new york times" has been gang busters. the new yorker does gang buster work. and i think this is a kind of a thrilling moment for journalists because there's so much to write about as the world goes absolutely -- i mean, now when i go to dinners or lunches, the first question someone asks at the table will often be is 50% of the world mentally ill? [laughter] you know, this is the golden era of moral amnesia, it seems to me, you know? this is like we have entered -- america gets these fogs, these fogs, like, we love our witch hunts. we have these fogs we get into, and it seems, you know, extraordinary, this moment, that we are in a kind of a fog of moral am news. >>. and -- amnesia. and for a journalist, this is prime territory. [applause]
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>> we have five more minutes, so i'm going to ask one more question. because she returned to san antonio, i think it would be fun to let you all know if you don't know already that marie and her husband, ernie pom rants9, recently gave more than 850 photographs to the san antonio museum of art. the director says the gift of photos introduces a whole new genre to the museum, and for her institution it is transformative. these photographs go back to the 1920s and run into the 1990s and track all sorts of events such as the great depression and world war ii and the civil rights movement, and they include henry car toe bressian, so how did you start the photography collection, and how did we get so lucky?
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>> oh, this has been a wonderful kind of a secret passion. ernie pommer rants, my husband, grew up in san antonio, graduated from thomas jefferson high school, and we have been just fascinated by what you can do in photojournal. i mean, i was in a way born into it because edward westen was very close to my aunt, anita brenner, and did the photography for many of her books. the pair-shaped nude, you know, the -- pare-shaped nude, that is anita brenner taken in mexico. scandalizing the family. my dear grandmother has to deal with her daughter posing nude in mexico city for edward westen. this is the eyeball roller of the brenner household. i think i see because of my reporting and just loving photography, i see the world sort of in these black and white images. and, you know, photography and photographers, for me, they're
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the last great optimists because they return to the world to the world, and this is something that when you see the beautiful job that the curator, suzanne weaver, who is here today -- suzanne, wave to everyone so they can see you -- [laughter] suzanne and katie luber who run the san antonio museum of art, i love this museum. and suzanne puts so much scholarship and thought into how she was going to the hang this show. one of my favorite photographers is a photographer named danny lyon who was sent all through mississippi in the '60s by snic, you know, the student leadership conference. and when with you see the images that he took of this hatties burg, mississippi, and these little towns in massachusetts where you see the signs for the segregated taxis, you see the sheriffs, you see in one image -- which is not at the
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museum -- you see the young bob dylan sitting playing his guitar as a young civil rights worker. you could be in charlottesville last, you know, two hers ago. -- two summers ago. this is how vivid these scenes jump up off the wall. >> thank you, marie. >> don't forget, marie will be signing books in the barnes and noble tent directly after this. thank you all so much. [applause] [inaudible conversations] >> and coming up next on booktv, matt farwell tells the story of former u.s. army soldier bowe bergdahl who was held captive by the taliban for five years after leaving his post in afghanistan in 2009. then, judy goldman shares her experience with the patient system after a a medical mishap
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left her husband dependent on round the clock care. later, jesse owen -- dmawbl. [inaudible] in the mid 19th century. booktv continues now. he's a look at former soldier bowe bergdahl. >> thank you all for coming out tonight. my name jeff martin with magic city books. we are very excited to have you here in tulsa, oklahoma. we're excited to have our friends from c-span and booktv with us as well tonight to cover this really fascinating story that we're going to dive into a bit. i want to tell you a couple things coming up. we have our literary fest happening very soon, all kinds of stuff planned for the spring and into the summer. you can see that on we won't go through the whole letny of events, but as you know, we do a lot of stuff, and we h


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