-- in nixon's resignation. >> plus a lesser tonight at 8:00 p.m. and midnight on c-span3's american history tv. , david reid talks about "the brazen age" politics, art, and bohemia in a conversation with thomas bender. in reid argues between 1945 1950, post-world war ii new york city became a haven for exiles. art, world center for culture and creativity the museum of the city of new york posted this hour-long event. >> egg is a great pleasure to introduce our speakers. they have fuller bios and our program which should've been on your seat. is an intellectual

and cultural historian as many books include new york intellect, the unfinished city, and a nation of nations. these professor of history at new york university. editor of "sex, death and god and l.a." reviewsys, articles, and interviews have appeared in vanity fair, the paris review, the new york times, the , los angelesst times book review and various anthologies. what you please join me in welcoming david reid, to a spiegel of it was fecal about his book and of each other professor bender. -- and then be joined by professor bender. [applause] mr. reid: thank you, lily. it's a pleasure and honor to be here in connection with this

distinguished series. this is a memorable occasion for me because it is my first powerpoint presentation. [laughter] so bear with me. i might be the only person in america who does not have experienced in this medium. -- got thet clicking microphone adjusted. great. survey just a very brief of new york pictorially. we begin with this. it's a fantastic shot of the financial district in the mid-1930's. series, changing new york. here you have the classic vista. the topless tower. the alabaster walls. the fortress of money. out, they ship going steam rising above the

landscape. below this there was the beginning of the 1930's a stricken layout. the landscape of the early depression. it was worse to be down and out in new york and london or paris or any other great world city. one thing it seemed to be becoming was a cleptocracy. the mobs had seized the effective control of new york. this became more and more betweenin the interval the realization that herbert hoover was effectively helpless in the face of the depression and the coming of the new deal. in numerous novelty find people such as john o'hara saying, "what will governor roosevelt to ?"en he becomes president no one was quite certain. the mob ruled the street. this is one of his specialties.

the demise of anemone gangster. -- imminent gangster. normally these would include a fedora, the signature of a late gangster. it was sometime suspected that he actually planted the fedora. and this one he is wearing one. the gangster is out of sight in the car behind the wheel. skip the whole new deal era. we go straight from a stricken city of 1933 to the victorious city of 1945. the troops returning to new york and washington -- marching through washington square. we had a city that 12 years before seemed as if it were paralyzed, a city from which the that itse had written boxers with a quick is, it's bankers for the richest, and now a giant of the city. now new york stood at the summit of the world.

it was dana patrick moynihan who said, "the most step will place in the history of mankind." what did it actually look like? at street level it had changed surprisingly little. during the great depression the buildingcycloptian projects of the 1920's had been effectively stalled. there were the bridges built by the new deal order for which the so-called master builder robert moses is often given credit as if you were an independent force of nature, and perhaps he was. would haveally -- been built without fdr who loathed him and laguardia. here you see the celebration and the faces of a multicultural city. the italians of little italy on v-j day. living among scenes were effectively unchanged for the last half-century.

lovely to be remarkably altered and transformed by the suburban age that was approaching. here is something entirely different, but these are exactly the soldiers you would've seen returning. --s was still a nomination and urban nation. these counties including new york constituted a nation that won the war. -- perhaps itme can be calculated now my computer. in 19 -- the winter of 1947 in 1948 united states went from having its largest proportion, and absolute terms the percentage of the population, kids are just -- it's largest population of 100,000 or over in the process of suburbanization that began at that time. here are the boys in the army. what were they doing? reading books.

the need for print was so extraordinary during the war -- tearrades would pair out signatures of a paperback book and hand them to a buddy. books of poetry sold. books of what amounted to very "you areporn sold like my beloved" with its vegetable analogies. but henry james and after -- f scott fitzgerald became popular in this time. publishers wondered if he could last. with the boys and their wives keep reading books? an odd thing happened. they did. what they stopped doing was going to the movies. they retired to private pursuits like reading and procreating. in this matter was born the suburban nation that would to succeed the new deal nation.

here again we are talking about a city in print. here is the newsroom of the new york times. let's not forget the new york times had a rival, the herald tribune. a newspaper of the establishment. a newspaper of the wasps. a newspaper of the established rather than the striving. and a newspaper that published excellent prose. it was a saying among journalist that the weakness of the new york times was sex. that is what was said. the weakness of the herald tribune was alcohol. alcohol-related better prose. to better prose. no press lord was more powerful than henry luce, shown with some carefully attentive newsmen hanging on his every word. at the end of the second world war time life was something the most powerful media empire ever.

its magazines cover the earth. it was an oracle of intellectual authority. it attempted to do the same in the department of politics. it was ubiquitous. life magazine actually -- more people were exiting -- advertising in life magazine alone been on any television or radio work. those were the days to be involved with print. the future would lay elsewhere. here we have edward r. murrow representing the empire of the air. after the war radio and television ceased to just be a headline service and the consequences for those we all know. on the other hand you have the small magazines represented by artisan review which exercised an intellectual tendency out of correspondence with us very modest circulation. never more than 10,000 or so. in this picture we see

representing a certain part of the intellectual and expatriate writers. he was best known as being married to mary mccarthy. an exiled writer from italy. married --.equently center looking slightly sque,kyeqaue mary mccarthy's next to the poet and in front is kevin mccarthy, the actor. we have one type of the postwar writer as culture hero. they wore plaid shirts and represent it typical jewish moral earnestness, arthur miller. and his anti-type, truman capote. he represented the author as a

effite.- both had a long run. we had leonard bernstein, his debut was legendary and attractive the same kind of frenzy adulation as frank sinatra. here we have the art world represented in the first of the exiled artworld. salvador dali looking rather clean cut in his chalk striped suit. to the left his dealer, julian levine. troupe have the ballet in 1942. balanchinee george representing the european artworld and lawrence hart of hammerstein and heart. here we have the kind of gathering of darlings of the gods.

54th street in 1950. she continued her career but no longer able to dance. a writer. probably recognize tennessee williams and gore vidal. here we have the irascible as they were characterized by the herald tribune. -- abstract extraction is expressionist painters. you will probably recognize kuning, bosco, jackson pollock with a guarded hooded expression. here we have their dealer, betty parsons who gave us the white walls, bare floor gallery. they give me paintings, i give them walls.

letter bynspired by a harry truman to his wife margaret truman in which he said that they had to declare the truman doctrine inaugurating the cold war that he was opposed only by crackpots like henry , his vice president shown here among schoolchildren during his 1940 presidential run and woody guthrie who supported him. here are the kind of immoral artists and writers of greenwich village, as harry truman called them. are presented here by montgomery clift, jack kerouac, and unidentified man with a quizzical expression. here are the avatars of the beat generation to come, jack kerouac and neal cassidy. jack -- the two of them were present for harry truman's inauguration as president in 1949. here we return to a classic

vision of new york. the risen city of the postwar. of the my mini tour decade and hope to learn more about it. thank you. [applause] [applause] mr. bender: thank you very much for that visual run through. that was quite wonderful. i want to begin by saying if i were asked by a publisher to describe this book, what i would have said. say this is a big book. if it were in print, it would be in all caps. it's a richly populated book with a wide range of new yorkers precisely captured in fine

prose, many and various lengths. some beautifully captured in a single phrase. a vast panorama of the arts, polish it -- politics in the lives of the many writers and artists. i think it shows a couple of skills, along with many others, but i want to make a point. first, an incredible range of the energy that radiates through the book of the many people and works. he talks about so many writers. he can capture in a few words a picture, a text. so many writers that i want to get to the index and literally count them how many this man has his capacity.

unfortunately -- i don't know. booknk when you pick up a you might want to do that. the other thing is the second virtue. david reed is a writer. we academics and queer writers but we mostly are not -- think we are writers but we are mostly are not. is anst real question obvious one. here is a man that was in california, who has got to books on california. he writes a lot about california and other media. why go to new york? say --d: i would have to thank you for that extremely handsome and generous comment.

i would have to say in part it's writers like yourself a set me on this path. day -- i canr the even name it. may 30, 1983. book. across this it has been moved to the despair of the editors to san diego. they have sawn that he had fond memories of being there during the war. you can imagine the desolation from new york to san diego. it's chiefly those of geography and intellect. the idea -- the history of new york -- an american writer of any kind cannot escape new york one way or another. the publishing center is there. there is a terrifying line of "in gunther for he says,

the field of culture there is no definitive success in american life unless it is ratified by new york opinion." i do not say this is a good thing. [laughter] i just say it is the case. the short answer is that many years ago my agent asked if i had a book i wanted to write. and did i have a proposal? i said i didn't have a proposal but i did have a book. he said all right. write a letter, no more than two pages addressed to me. write it so that it can be read by other eyes. what is he going to be about? i said it would be interesting about the period directly after world war ii. that's when my generation came in. for another there was a great

cultural glory. --film noir,e, the beginnings of television. most of that was going on in new york. it was the undisputed cultural capital. that is how i got started. he sold the book and i was lashed to the mast. mr. bender: ok. i want to pose another question about the book. the title. "the brazen age." i thought i knew it brazen meant. i thought it was a non-choice -- an odd choice. i went to my dictionary. the first part of the definition said "marked by flagrant and insolent audacity." to then it had an asterisk go to a special box at the bottom of the page.

synonyms, shameless. then it goes on to say, "these attitudes -- there are a couple of others -- these additives apply to people and personal behavior that are in defiance of social and moral or priority and are marked by an old lack of shame." i think you just gave a different definition. [laughter] mr. reid: there is a lot of shame. that audacity -- is a strange thing. i diovered when i begin going online to see if it was getting any publicity -- [laughter] it was third or fourth or seventh title they came up. the first title they came up was

"my life in the brazen age," a book written by someone in london in the name -- the late 1600s. there is nothing new under the sun. one learns all kind of things about your first book online. if he gets a certain websites you can find out i wrote this book in a hiatus in my training as a navy seal. [laughter] i don't know why that is so funny. fromitle actually derives a line by corgi dow -- gore vidal. when i wrote this note i quoted the line, the opening of the introduction in which gore vidal is writing in 1974 in the dark days of richard nixon's presidency. he says from december 7, 1941 1974,august 14, presumably the day he was

writing, the united states is in more or less continuously at war with the exception of a brief too little celebrated interval, 1945-1950, in which we enjoyed at least not to brazen and age. she said he realizes has to be your title. i subsequently realized that if you look at the poet you find -- you got me started. the poet talks about the golden age of being transformed into bronze by violence. here you have the golden age at starts up with another war. mr. bender: thank you. i got that. said there are so many

characters. you got some sense of the range of them on here. sense of what was on the screen. the range of things. i guess i'm like to have you say something about the most individualroup or you had to deal with terms of getting it right. maybe even the one you ended up feeling more and more uncomfortable with. and then the other side of that. the one that you either it was just a sense -- it was just a sinch. so when you understood in a very positive, significant way. mr. reid: that is a fascinating question. i did in the course of writing this book continually find

myself -- at this point my lover started falling in in a bizarre and perverse way with some of my characters. some of whose direct relevance in the 1940's was not obvious to the most generous high -- eye. editormy shattered -- they give you the kind of order by noting the bohemian to the arts and politics, these were -- spheres that was it was it was enough to encompass. the manuscript was once about twice as long as it is now. -- the say would happen group i became fascinated with for the early bohemians in greenwich village. dell.

a lot of people whose names are largely lost. .here was a new york dadaist i was both fascinated by them. i went to the library and have experienced many times. you are the first person to check out a book and 40 years and you wonder if it shows you are being scholarly or just too far off the beaten track. the thing is they were both fascinating and frustrating in equal measure because you cannot be sure you're getting them right. with one's contemporaries you have a reasonable sense of the background. at a certain point you are reaching your hand too far over the table. you wonder -- there is a terrifying line that christopher wroteood -- gore vidal historical novels and he said how terrifying them as be. you just wrote "and the birds began to sing,"

and you wondered where their birds in the fourth century. [laughter] the early greenwich village bohemians was the answer to both questions really. mr. bender: that is particularly interesting. one of theut them, things that struck me in the book was although it was yougedly a postwar period moved back and forth. them, not start with although it does in some ways 350 therebut on page might be some return to a much earlier age. it may be for member something noble had written -- melville had written in "the confidence man." it went like this. " describing the narrative that

the reader is going to receive, the narrative goes forward and is backward as occasion calls. circumference elastic you must have." you had a good predecessor in this thing. i don't know. i am one of those historians that goes down through chronological line and maybe this is -- misses some things by not breaking that. it seems to me you had a purpose orthe times when you did sometimes skip forward. mr. reid: you put me in exalted company for which i am grateful. certainly in the presence of an exalted phrase.

this digressive this -- --ressive -- digressiveness i pointed out there is a parallel to my conversation. i use one particular example. nothing starts. there is no new moment or original moment in history. sort ofa lot about the homosexual underworld of the 1930's. much of it was not an underworld. during the war homosexuality came out to an unprecedented public visibility. it was literary themes. capote. no one is going to mistake the symbolic swampland of other voices, other rooms for a literal transcription of reality but you get really is coming from. suspected ofal, doing in artless documentary. there is always been a gay new

york. chompsky has an a classic study. to are inevitably drawn back explain that people are doing in the future. particularly the elements of new york sociology is important to me. mr. bender: there are stories that nearly require a restart. they are not sitting quietly. when i wrote "new york intellect" i had a little epilogue which was maybe a mistake. i did too much and too small of a space. one of the things i argued there was the culture of postwar theod, the 1940's onward to

the eyethe culture of and the ear had diminished the written word. it is supremely the city of the[laughter] >> do we find ourselves at .isagreement here >> i think you show your insight on images already. but yours is very heavily on the literary and -- end. is a funny thing on the cultural end, but on writing this book. it isn't necessary, but

fundamentally that you can change that in any given culture and there is a dominant medium, had cuneforms and clay tablets and then we go here and we can remember how heavy culture was, a little bit like in the 60's. only the books, but the phonograph records. this is all gone, you know? you have the tablets and the iphones and you have this serialization. the movies were bulky. .hey came in reels

this has all changed. why i call new york supremely a city of words is it is the last we spend our times looking at teen literacy. people have read newspapers around the clock. 16, 17 dailies in new york. and new york is an alphabetical city in the simplest way. the eye and ear people, the people i first encountered in your book -- mr. bender: yes. were appreciated, like the abstract people were appreciated in the early day, and i think the eye and ear

.eople many of them didn't have expertise in culture. mr. bender: there was a perfect article that irving howell wrote i think in the 1960's, when a new york person stumbles into t, it is true, with theyxception of greenberg, are pretty and attentive to visual. especially to one of the things i liked about your book is the relative marginalization on partisan

review. [laughter] there are several books on partisan review. this has people in a small circulation, as you point out, with people are positioned cold war to come up with a kind of position that was viable. we talked about where they were going and it does seem to me that the it was painting, it was leonard bernstein, and you but i am many others

but you have the writers and the emerged in the figures of intermission. mr. reid: i agree on the new york intellect. right up through, say, susan sonntag, and you say she came out where she was first renowned for her article in partisan theew, but she was telling news from europe. it was very old-fashioned. here are the old french movies. get with it, people. [laughter] mr. reid: and, you know, there were elevated books that were of

great import in new york about the great importation of european ideas and artifacts. but i think one thing that eyeened was basically, the people so far won. i think beginning with the 1960's, music, art, it gets much more important with daily it had beenhan before, and that is were the news was coming from. people were no longer breathing the news the way the paintings were ringing the news. mr. bender: ok, i am happy with that. switch to the question of empire. empire is in the subtitle. i guess i didn't see enough empire to put it in the title. maybe there is a case for it.

mr. bender: well -- mr. reid: well, maybe in the thousand pages there is more talk about know, i think i spared my editor this terrible news, but as soon as the book was officially finished, i decided to do new york by modern perspective and empire and you're right, i like having in there and it might .tir interest -- glad it is in their there.

.r. bender: they were numbered aboutid: it is very funny ,"iting in "the new york times during the bush administration where there was an unnamed administration official named karl rove and he said, you belong to the reality convention . he said, "you are part of the empire now. we create this now." this is breathtaking uber us. -- hubris. [laughter] mr. reid: it is amazing that washington was saying, you don't know where you're going here.

and the information i have here is from a late clinical and having a world in which there was no election but there was interest in america.

mr. bender: i think there was a moment in empire when you were talking earlier about military action in the united states, who everat point was working before and working again with , and it does an that i am less comfortable with the bases all over the place. there are troops who are at it again, butgain and .nough of that

but you showed some of the wonderful bernice abbott photographs, which the negatives for those photographs are the and i would like you to talk about the new york of 1945 if whether it has more in common with the world 40 years or 50 years ago and those photographs of pictures by her or the 50 years or so after? mr. reid: it is really -- the photographs -- i think they are the most fascinating, they are the most fascinating of all the civic photographers. but it is a funny combination.

new yorkerradigmatic and she was the beginning of the rebels of the jazz age, she to newo paris, went york, of course, was a great photographer, and if you have any copies of james joyce, which i'm sure you all do, but then she came back to photograph a changing new york, and her whole idea was to witness the izing,etamorphosis ever-changing city.

so it is a city where it is frederick caymans and -- frederick jamison's classic city of modern a many of the from hitler'scame europe were struck by what seemed to be the primordial quality of new york. it was a scary place. so i think that belonged to a particular moment that didn't .elong mr. bender: sure, but the cultural history that you are go in relationt to 50 years back or so, i am , or i guess, maybe

where we are, maybe not now but later,, what is the relation, , or theirimilar connections there, does it go like this, does it go like i happen to know the historical span of this book. it is wonderful to have the library of congress. it states, new york history, 1898 to 1951. new york civilization. lifeork, intellectual 20th century. greenwich village, intellectual life, 20th century. [laughter] going back to 1898, i think in a span thatended a

began during, around 1898. the spanish-american war. roosevelt became president after the attempted assassination. there was a great civic culture out of which the roosevelt emerged. theodore roosevelt obviously is a republican, and then franklin roosevelt began as a cabinet member, subcommittee member -- sub-cabinet member under woodrow wilson. i think it could just be called the longer age of roosevelt, if you want to embrace that. i think, you know, as i mentioned to a dear friend town, i wondering about said, i always had this ambition of photographing all the major monuments to fdr. i realized this would take a

very long time in new york city. [laughter] short, because we are just about done -- what is the condition of the writer in 1940, 1940's, as opposed to the writer today? autobiography,'s he talks about supporting himself when writing his classic "on native ground." he says, i could pick up a review at "the new republic" or some other magazine, and i was able to do my work. that clearly cannot be done today. what are the consequences? >> that is a classic example of that. whomalcolm kelly -- cowley,

collected his work under "and i worked at the writer's trade." a successful novel could make a millionaire. this did happen to people. you could always sell out to time, inc. who you mentioned, who invented the term "new york a jobectual" was offered doing book reviews at time magazine, and he thought this was selling out. so he went to philip ross, known as the chief of partisans for a device. he said, better to work for one boss than a dozen. [laughter] what is happening today, it was possible to cobble together that way of life as a man of letters, to use the old-fashioned expression of demised by edmund wilson. today, the writer's life has been institutionalized. there was a essay in n plus one,

which has succeeded the partisan as the most fearful and self-assured journal out of new york. they published "mfa versus nyc," the idea of professional mfa candidate who attends classes taught by people who write novels that not many people read but are published, you are taught to write such books yourself. it is very different from "nyc," which to them represents life. [laughter] i think there is something to that. >> all right. i think now the audience has the opportunity -- >> we have a microphone. professor bender, you could call on the person and ask them to ask a question into the microphone. if there are questions. here you go. know, the future always seems to be so much

different than it turns out. [laughter] i am a little bit curious about the time around 1930 where there was an author, a historian, james ford, who talked about the slums in new york city as being , as hes so significant hypothesized, it would take 130 years to eradicate them. what that says in the context of what you talk about -- how did, do you see the impact of the future changing in a way that outpaces its prognosis? what is the impact of that, both on the literary side and cultural side as we move into the cold war and beyond? >> that is a terrific question. that period fascinates me, between the helplessness of the

hoover administration and the brio of the roosevelt administration. in the first half of the 20th century, people imagined they were moving into a period of immiseration. during the depression, it seem ed to a lot of people it was just going to keep going on. luminaries were interviewed on the dockside when they arrived ia.the aquitaine reporters said, has there ever been anything like these conditions? he said, yes. it was called the dark ages. [laughter] and it lasted 800 years. [laughter] 1945 -- of course new york blazed compared to the

darkness all across eurasia. the poet stephen spender saw the ruins of berlin and the chancellery collapsing. everywhere from palermo to leningrad, they seemed to be emblems of a disaster that people will come and gate at for centuries to come. so by the end of the century the bulgarian artist christo had wrapped it. [laughter] outstrips ourays prophetic power. but there was an enormous imagination of disaster, understandably so after the war's and depression. >> a question back here? >> thank you. that was wonderful, by the way. [laughter] a question. do you have anything about the harlem renaissance in your book? >> i have some. this is not easy.

so many brilliant books have been written about the harlem renaissance. there is a line that i wish that i had put in. franklin, a great historian. chapter-- we had a what they should talk about is continuing the harlem renaissance. his answer was, "yes." and as from the 1930's 1940's and includes some of the very same people. there were ridiculous certainly, james baldwin could not have anticipated becoming james boy in when he was a bus the village. but as i say, in that perspective, i would like to put

in more where that was one of those chapters were a thought, " oh god, if i don't get out of the 1920's, i am never going to get to the 1950's." i had success with "the masses."nd "the new it is in the index. [laughter] mr. bender: any questions? certainly some wild disagreements? >> fascinating talk, by the way. now you mentioned henry wallace and the progressive party, and coterieems to be a following him. you spoke with shaw of the wpa

and of the artwork he did and the crowds, and i just got the book -- i haven't been able to check of the indexes -- [laughter] mr. bender: are you -- >> in the group, i seem to see this whole left-wing coterie. mr. bender: was it written by michael denning? there is a book, and it might be one of those things where you arrange the figures in one way, you're going to get a very different richer -- different picture.

i think that the late 1940's was that time andh of it was the last hurrah of the wallace campaign. ben shaw is certainly one of the most important artists, and leonard bernstein supported his president, wallace, my father supported wallace's run for president. [laughter] mr. bender: it went virtually underground. was not dammed -- on camera, but by the house un-american activities committee. if you were a new york inte

llect, how would you answer the question? mr. reid: it is too far back. i can't remember entirely what i had planned to say. [laughter] mr. reid: that was a long time ago, that book. mr. bender: but part of it played an interesting role, as donald, because michael normousanonymous -- an e influence at that time, but he hated henry wallace. he said -- he referred to a wallese, and referred to it as a wintry snow that covered everything. still hear some of the

rumbles of this and i don't know if anybody here remembers this, but there was a famous feud between mary mccarthy and lillian hellman. and they were on "the dick allen show," andick cavett onically, cavett was egging ccarthy, and basically, she finally said, "everything she writes is a lie, including ,'" and this went on for a long time. so the battles about the popular front, which involved views on war in which a number of american veterans had just died, discussions and views about the new deal, views about the

communist party, views about american expression, these were all mixed up with the left-wing policies of the 1940's and these are still going on. yes? age.u call it the brazen what would you call the 1920's? mr. bender: besides the jazz age? i mean, it is a funny thing, a lot of people in 1930's -- i mention in passing that for us, it is obvious that the 1920's .as the golden age of culture it was the great age of the american novel, the greatest age of the american novel since the 19th century, it was the high age of american modernism. there are books that are still a lot ofillions and people at the beginning of the "oh no, we have

been led astray. there is a great chapter in arthur/injure's -- book --nger's and i do think that some of the same people, -- it even hemingway also went through a great political age, so i do think that that seemed in --rospect that [indiscernible] >> [indiscernible]

mr. bender: ah! the has to do with presidential election. this could turn into the latin age very quickly. are there any comments you would like to make? >> [indiscernible] mr. bender: my editor is here, my editor is here. right now represents a repudiation of a lot of the orthodoxy of the postwar era. obviously. to say, "well, we should cut back on nato" is to go against the consensus of the truman

administration. at that time, it was largely rump represents, an idea ofkind of the populist moment. this is all painfully obvious but if you ask, "how does this relate to 1950?" 1960's consensus the where there were people who were just taken for common on both sides of the barricades. and i don't think we can say that. right now i think we really are at a watershed that is comfortable to 1912. mr. reid: with a whole cast of characters. in 1912, all three candidates were progressives. [laughter] in bender: what i mean is

1912, remember there was a consolidation and in this case, the case is watershed, but it might be inconsequential. >> i want to thank everyone for coming and thank david reid and thomas bender for a wonderful conversation. [applause] and we can certainly continue the conversation, but there is wine, so we should enjoy a glass of wine and the books that are out here -- oh! which will be signed by these two amazing authors. [captions copyright national cable satellite corp. 2016] [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. visit ncicap.org] announcer: you are watching "american history tv." 48 hours of programming on american history every weekend

on c-span3. follow us on twitter @ cspanhistory to keep up with the latest american history news. announcer: investigative yockelsonmitchell talks about his book "41 days." he discusses general pershing and leading the expert here he fortunes in 1943, and they fought for the victory of the meuse-argonne, which mitchell yockelson argues with a turning point in the war. this is a one hour-long event. >> our guest today is mitchell yockelson, a national

archivists. he is a former professor of military history at the united states naval academy and currently teaches at norwich university. for his work, he received the heritage foundation's testing which award. he is a holder of a doctorate from the university in the united kingdom and today he will discuss and later answer your questions on his book, "47 days. ." douglas waller, "the new york author saidselling "he has become a preeminent world war i historian."