>> From the Library of Congress in Washington, D.C.
>> Guy Lamolinara: For those of You who don't know about the center
for the book, we're the division of the Library of Congress
that promotes book's reading, libraries and literacy,
and we do that here in Washington and also
through our affiliated state centers and we have a state center
in every state of the country, and if You want to find out more
about the center for the book,
please visit our website at read.gov.
I just wanted to let You know that we're going
to be filming this presentation today, so if You ask a question
at the end of the presentation, You'll become a part of that webcast
which will be on our website.
I also ask that You please turn off all electronic devices.
And I want to thank especially, our co-sponsors today,
which is the Prints and Photographs Division.
They house of the world's finest collections of visual materials
and I especially want to thank Kelleen Azinkum [phonetic] who's the
division chief there, and I also want to thank Sara Duke
for bringing this program to us today.
So, please welcome Sara Duke, who will introduce our speaker.
[ Applause ]   >> Sara Duke: Thanks, Guy.
I'm Sara Duke.
I'm curator of Popular and Applied Graphic Art,
in the Library of Congress.
It's a rather long title to say that one of my functions here is to work
with caricature and cartoon.
And with that, I'm very pleased to be able
to introduce Rick Marschall to You today.
I've been talking to Rick for about 20 years now.
So when Warren Bernard re-introduced us last year,
it was like meeting an old friend all over again.
Rick is about the most knowledgeable person in the United States
on 19th Century, and early 20th Century cartoon.
And I have drawn upon his resources
to catalogue several collections here at the library,
and have used several of the books he has written.
But really, he's a renaissance man.
He, in addition to writing about caricature and cartoon,
he has written about faith and music and film and television.
And so, in order to get today's programming underway,
just a little aside before I bring him to the podium,
there are 14 million items in the prints and photographs division
and we received Congressional funding
to put our Teddy Roosevelt cartoons online last year.
And so, if You go to www.loc.gov/pictures and search
under Theodore Roosevelt, You will see the fruits
of that scanning and cataloguing labor.
And that's very apropos giving today's title, "Bully!: The Life
and Times of Theodore Roosevelt."
As so, without further ado, Rick Marschall.
[ Applause ]
>> Rick Marschall: Thank You, Sara, very much.
There are a lot of people who are not aware of all my books.
Forget not having read them, but even the categories,
so that's always nice to hear.
And I'm really glad to see so many of You came out, especially,
You wouldn't know this one, this is shown on CSpan, but the weather is
so awful and thank You for fighting that.
As a matter of fact, I was wondering, it's really an honor
to be on CSpan of course, but the weather was so bad this morning,
I thought, "Maybe it should be covered
by the Weather Channel and see what we do."
But it is great to be here.
It is an honor and it's also an honor to have done this book,
which I've worked on, it took me 18 to 20 months to write,
but it really took me 40 or 45 years to put together.
As I'll tell You, I've always been interested
in cartoons and old cartoons.
I've always collected vintage material and had an interest
in Theodore Roosevelt from childhood.
My childhood, not his childhood,
although his childhood was pretty interesting.
But, I want to tell You about this book and tell You a little
about Roosevelt as we see him through this book.
How much time do we have, by the way?
>> 40 minutes and then about 10 minutes for questions.
>> Rick Marschall: Okay.   40 minutes from now.
All right, a quarter after.
Thanks. I gave a talk last month and this really doing is just an excuse
for having gassed on so long, but I told the audience
that I'll be closing soon and I hope I haven't gone on too long,
but I forget my watch tonight, I said.
And someone yelled out, "Yeah, but there's a calendar behind You."
So I hope that, hope that I don't hit You that way.
We were...I was talking with friends at dinner last night,
and it's a funny thing about Roosevelt.
Last month was a symposium in North Dakota,
the Theodore Roosevelt Association and the Theodore Roosevelt Center,
at Dickenson University, held a joint event.
They each have annual meetings and they held it, for the first time,
together there and it the neighborhood at Dickenson State,
Roosevelt's ranches, his cattle ranches,
so it was really interesting to see where he lived
and we visited his ranch sites and everything to get a flavor
of the Badlands, a very strange landscape,
where he spent two years of his life as a cowboy.
And there were about 400 people there.
Roosevelt lovers and amateur historians and Edmund Morris
and Douglas Brently, a lot of the noted Roosevelt authors.
So it was a nice come together for Roosevelt fans.
But there's a very funny thing about Theodore Roosevelt.
And that is that when You get people together,
even if they know just the littlest bit about Roosevelt,
there's a certain percentage, they are amongst those 400 people,
it was about 10 or 12 people who lapse into the persona of Roosevelt,
or what they think was the persona.
So we're at the banquet and You'll hear someone saying,
"Waiter, this soup is splendid.   It's bully!"
And there were people, Roosevelt fans who dressed
like him, You know, act like him.
That's not like a masquerade party or anything, but it's very strange.
The same thing I said at dinner, where You get a group
of people together, all right, over a certain age,
but if You mention the old film comedian, W. C. Fields,
there will be about a third of the men who the rest of the evening,
will just be channeling W. C. Fields, You know?
They just do that.
Well, You can understand it with Fields, because we see him
on TV, we see him in movies.
But with Roosevelt, there are very few recordings of his and the few
that were made were campaign, not speeches,
but he just he was reading a campaign script.
So it was very conversational.
So we don't get that aspect of "Bully!"
and "Splendid!"   and all this business.
We don't get that in these recordings.
There were a few movies, but he felt very self-conscious doing these.
He was not a shrinking violet in most ways,
but he hated doing these news reel films.
So they're mostly just him standing around and smiling and waving
or petting dogs or riding past the camera
on a horse or something like that.
So this persona that everyone seems to know about Roosevelt,
we don't know that from movies either.
So how do people know it?
How he acted and gesticulated and shouted exuberantly and everything?
We know that through the cartoons.
We can't say that about other presidents.
Matter of fact, in any of the aspects.
I mean, someone may love Lincoln, but they don't say, "Oh my son?
How old is my son?   He's two-score and seven."
No, I mean, people don't do that with Lincoln You know?
Or Washington.
But with Roosevelt, there's something about him that is
so appealing that we want to experience him and want to okay,
imitate him sometimes, but just want to know what he was like
and that is through cartoons.
We know that from the cartoonist's legacy.
And when I was Young, I just became interested in him.
I was asked in an interview yesterday, "What was it early on?"
Honestly, I don't remember, but I was always a history fan and I mean,
I was very Young, but in looking at the figures in American history,
something struck me about this man.
It wasn't his appearance or his exuberance.
It was not.   It was his integrity.
People knew where he stood, his enemies even admired him
because there was never any ambiguity
about the things he believed.
He was able to change public opinion.
He didn't drift, he didn't put is finger to the wind.
He didn't care about those winds.
He actually started some of those winds blowing.
There were many instances where he changed public opinion
through his indefatigable advocacy and that, even as a kid,
I recognized that, partly I admired it because we don't meet many men
like that in world history or in our lifetimes
and partly, even then, I was Young.
Certainly today I suggest to You, there aren't many people
on the national scene about whom we can say such things today.
So we all should be drawn to Roosevelt.
Why a biography of him with cartoons?
My question is, "Why not?"
So far there were a couple books done in 1910 that were black
and white collections and it was only up to that point in his life.
So this is the first book that has been done in color
and of his entire life and I've collected, I have complete runs
of "Puck Judge" and "Life" magazines.
I don't know if any of You, well we know "Life" magazine, but there was,
"Life" magazine started in 1883 that was a political cartoon weekly.
Someone once said, "That was the 'Life' magazine
that was intentionally funny."
So, we can, there is some editorial opinion there,
but so I've collected these things.
I have complete runs of newspapers from Roosevelt's era,
"The New York Journal," Hearst, "The New York World Pulitzer"
and "The New York Herald."
And it gave me material to go through.
I went through more than 20,000 cartoons
to put together the 250 plus that are in this book
and it was time consuming, but it was fun.
In Roosevelt's time, it was the golden age of journalism
and it was the perfect storm for Roosevelt.
You know, he's the most caricatured American,
most caricatured president, and thank You for all...am I still on?
The picture went off.   What happened?
Is it on there?   >> No.
>> Rick Marschall: Well, it sounds like the mic's off too.
Is it?   >> Yes.
>> Rick Marschall: Well draw closer and we'll go on.
But if the taping's going I'll say.
Newspaper photograph was not really perfected yet at that point.
There were no news reels yet.
Every paper, You know, when Roosevelt was president,
there were 16 daily newspapers in New York City alone.
And it was the case in most cities.
A lot of newspapers, a lot of rival papers.
Almost every newspaper had its own cartoonist.
A lot of papers ran their cartoons
on the front page, a lot of them in color.
So it was the golden age of political cartooning
and the papers usually then, instead of now pretending to be neutral
and impartial and independent, then they were very upfront
about what party or what point of view they represented.
"The New York Tribune" was the national organ
of the Republican Party, "The World" or "The Journal"
in New York were the Democrat papers and You just knew.
So cartoonists played a different role then.
It wasn't just to make people chuckle.
As a matter of fact, if You look at the cartoons in this book,
I would say only maybe a fifth of them,
or a quarter of them are actually meant to make You laugh.
They were meant to make You think or to get You angry, okay,
to ridicule the opposition, yes.
But they were illustrated editorials.
They were meant to persuade and because of that reason,
because of the function that cartoonists had, these cartoons,
and You'll see it in the book, are very heavily invested with labels
and captions and legends
and You could spend 10 minutes sometimes going through a cartoon
and seeing all the aspects of it
and getting all the points the cartoonist was trying
to make, on several levels.
So the cartoonist had to be a caricaturist,
had to be a political commentator,
and having been a political cartoonist myself, I will tell You,
most of them are also masochists because when You see some
of the detail in these cartoons, the cartoons You see today, You know,
one day, maybe they turn out,
but they're often very simple little scribbles.
But the cartoons in this were very complicated, very detailed
and turned out with great frequency.
I mean, today, the cartoonist would faint away
after having done one of them.
And the color ones were done on lithographic stone,
which meant they had to draw them backwards
because that became the printing plate and a different stone
for every color of the cartoon.
So, that's the masochistic part of it.
But it was a craft as well as an art and just to give You a sense
of what was involved in cartooning in those days.
You know, what would Roosevelt think today?
What would his policies be today?
Well we can guess at that and it's a great parlor game.
He left enough footprints, and actually a parlor game,
I've told people this, he was so consistent in his thought,
in his philosophy that You can take quotations of things he wrote,
speeches he made when he was in his early 20's in the New York Assembly
and maybe speeches or editorials in the last months of his life,
1918 and 1919 and if You obscure the source and the year,
You can almost never tell when he said those things
because he really never changed his views.
And it wasn't that he was arbitrary and inflexible.
No, he was grounded and he came to his ideas with great deliberation;
a lot of them inherited from his father who died very Young,
in his mid-40's, and might have been president himself someday.
He was a remarkable figure and most biographers have not really touched
on the role of T. R.'s father in his own life.
But he was a philanthropist, a great figure in charity in New York,
one of the wealthiest families in New York.
And in the very last months of his life, President Hayes wanted
to clean out the New York Customs House, which was a great cesspool
of corruption in New York,
and wanted to appoint Theodore Roosevelt,
the elder, to clean it up.   Had never been in politics,
but a well known philanthropist, an upstanding citizen.
And Roosevelt said, "Sure, why not?"
I mean, he didn't do it for the money,
although the money was $50,000 a year,
which in those days was equivalent of about a million dollars a year.
Even without the graft and everything.
And the Inspector of Customs then was Chester Arthur who was fired;
or the only way Hayes could do it was to request his resignation
and he refused to resign.
So Roosevelt, excuse me, President Hayes tried to force the issue
by nominating the sterling Theodore Roosevelt, Sr. from New York
for the job and the Senate rejected him,
largely because the New York senators,
and senatorial privilege was very important
He got his fellow senators to defeat Roosevelt, and one way he did
that was to absolutely savage him with a lot of lies in the press,
really drag him through the dirt and it was absolutely humiliating
to Roosevelt, Sr. He was really naive about this whole process.
He died two months later.
At the time, people thought it was, You know,
he just didn't cope well with this.
It turns out he had stomach cancer and that's what he died from,
but for the most part, biographers have not, they treat that episode
in Young T. R.'s life, he was a student at Harvard at the time,
but I think it's self-evident, and Roosevelt made reference to this
in letters and remarks to relatives and friends and such,
but throughout his whole career, he kept returning to his father, that,
"Father would be proud of this," or "I remembered Father's instructions
when I made this policy or advocated something."
So it really was a lodestar to him and it's a point I make in the book.
Another point is, and it's been insufficiently examined,
is Roosevelt as a religious man.
He was possibly our most observant of presidents.
When he left the presidency, he could have been,
he had university presidencies offered to him and editorships
of major newspapers and magazines, and he turned that all
down to become a great financial sacrifice,
to be editor of "The Outlook," which was a small, Christian news weekly,
and he made that his platform for six years.
So there are just many examples where, he wrote an article
for "Ladies' Home Journal," once about why,
"Nine Reasons Why Men Should Go to Church."
I mean, he, his faith was a large part of who he was,
and that has been insufficiently written about too.
So I was happy, proud to bring those two points to the fore in this book.
Well, I will switch to the end because it could be told now as well
as at the end, but for all the cartoons about him, pro and con,
and most were pro, You know, he really cultivated the press.
He made reporters his friends, he gave a lot of information
on background and cartoonists were his friends too.
We have many cartoons, famous cartoons, that were anti-Roosevelt
and I'll say in the captions
that eventually this cartoonist became good,
good friends with Roosevelt.
That happened frequently; he was just, You know one time,
it was actually an opponent of Roosevelt said this once,
but he said, "You've got to hate the Colonel an awful lot
to keep from loving him."
But people ask me, "Did he have a favorite cartoon?"
and I'm glad they do because I know the answer to that.
If not, I'd make it up anyway, but...
[laughter] well, I wouldn't, but he did have a favorite one
and of all the great ones of him exuberant and charging
and waving the flag and all like that, You'll see it I hope,
but I have him describe it to You.   This is from his autobiography.
It's a cartoon that Everett Lowry drew, and will You get it from,
it's very, very modest cartoon, and You'll get it
from the, from his description.
He said, "There was one cartoon made while I was president,
in which I appeared incidentally,
that was always a great favorite of mine.
It pictured an old fellow with chin whiskers, a farmer,
in his shirt sleeves, with his boots off, sitting before the fire,
reading the President's Message."   That's the only label in it.
He's reading the annual message,
State of the Union, we call it today.
"On his feet were stockings of the kind I have seen hung
up by the dozen in Joe Ferris' store at Medora," in his cowboy days,
"in the days when I used to come into town and sleep in one
of the rooms over the store.
The title of the cartoon was, 'His Favorite Author.'
This was the old fellow whom I always used to keep in my mind.
He had probably been in the Civil War, in his Youth.
He had worked hard ever since he left the army.
He had been a good husband and father.
He had brought up his boys and girls to work.
He did not wish to do injustice to anyone else,
but he wanted justice done to himself and to others like him.
And I was bound to secure that justice for him,
if it lay in my power to do so."
And it was a cartoon by Everett Lowry in "The Chicago Chronicle."
And that says two things about Roosevelt.
It says three things about him: his taste in cartoons, which is fine;
but it says, it says what integrity he had,
I think that he knew he was destined for glory and some reputation,
and he could have chosen if he was forced, what image, You know,
"I was happy with this campaign poster or showing me slaying dragons
and such as that," but no, he was happy with this very modest cartoon,
in which he didn't even appear except a very small picture
on the wall next to the fireplace of Roosevelt's face.
Easy to miss.
But the second thing that the cartoon says, and what he says
about what the cartoon says is the type of man he was.
was. And it's one reason I think that if he were around today,
he would be, You know, in a lot of ways,
he started the big government movement
and the expanded powers of the presidency.
When he did that, and he's often said this, "It was on behalf
of the common man and the individual and the small businessman,"
that they were getting crushed by large corporations
and by corrupt unions, et cetera, et cetera,
and he thought the Federal government should intervene,
not as Wilson wound up doing with programs and then FDR,
his distant cousin, but as a referee.
This is what he hoped, and I think,
didn't dream it would go farther than that.
And today, I think he would look at the same problem,
the same challenges, with the common citizen and the everyday man
and the small businessman and say that,
"Now the solution would be less government."
Okay, now this is my idea and it's after a lifetime of study
about T. R., but just the way he describes his hero, his hero,
his typical guy who was an anonymous, hardworking father,
provider, who just wanted to be left alone, who wanted justice done
to him, but didn't want to do injustice to his fellows,
that to me says everything about Roosevelt that we need to know,
if we want to learn more about him and also about the,
God bless cartoons, about the role of cartoons
and how they can really say more than the image shows.
A picture is worth a thousand words, but it was never truer
than when You talk about most of these cartoons.
Now unless we've got a chalkboard or something
like that, should we wait on this?   Or who am I looking at, here?
Yes, okay.   Well let me, I don't know.
What are we going to do here?
See, I keep thinking it's possible that some button up here
that would just start it all going,
but if You...I've tried this button...until we wait for that,
actually, some of You might have questions.
Let's...only way to make a precedent is to break a precedent.
Yes?
>> I'm interested in some of the mechanics
in getting publishable copies
of these pre-illustrations and also permission.
So first of all, how many were public domain
and how many did You have to [inaudible] and did You,
were You able to use Your own [inaudible]
>> Rick Marschall: God bless You.
I didn't pay You; we never met before today, did we?
[Laughter] You know those magicians on "The Tonight Show?"
"We've never met," right?
No, I was going to say, I am going to say, when we see some of these,
I want to introduce in the back of the room, John Barley,
my partner in Rosebud Archives.
And a lot of the cartoons You'll see in the book, some we wanted
to make facsimiles of artifacts, so You would see the rips and tears
in the boarders and all like that, to get a sense
of the, what they were like.   But most are restored.
They were all public domain, of course, because of the years,
but just about everything in the book has been restored
so it's newly protected, but we have a service we list in the back
of the book, it's what Rosebud Archives does,
making these available for prints and posters
and framable art and things like that.
So, this is not a commercial, it's answering a question that, yeah,
there was some restoration, a lot of restoration.
I have a couple examples here where great cartoon,
but the only example I had was in four pieces, You know,
and chunks missing and the border gone and all like that.
And when John got through with them,
it looks like maybe it was printed yesterday or something like that.
So a lot of work went into this.
As what scanners and what programs, I don't know,
but You can tackle John afterwards about that.
That's a good question because these are artifacts.
Yes?
>> You mentioned 20,000 cartoons in the beginning of Your talk.
Were they all of Roosevelt or was that 20,000...
>> Rick Marschall: Oh, excuse me.   Yeah, all of Roosevelt, yeah.
And there were more.
Now, some of the book, You know, it's a history of his life
and times, so not every cartoon is about him; it'll be about the issues
or about the day, so of course, I go through some
that did not picture him but dealt with him or his issues, but yeah.
When I was doing my tally, it was 20,000 about him.
Should also mention that I have runs of Jugend Simplicissimus
and "La Siete Auberle" [phonetic] the French magazine.
A lot of the Europeans satirical magazines of the day
that often commented on American politics and affairs.
So some of those are in the book too, and wound up, so yeah,
it was...I've got a permanent callous here from turning pages
and doing research on this.   Yes?
>> Would You like to comment on Your relationship, artistically
and personally between Teddy Roosevelt and Clifford Berryman?
>> Rick Marschall: Sure, I could do that, yeah, we would get to that.
Clifford Berryman was a cartoonist of "The Washington Post," at first,
and then "The Star" for decade after decade.
And Roosevelt was on a hunting trip, in Mississippi,
although some say it was Louisiana; it's a little murky.
Actually, Murky is a town in Louisiana,
so that has nothing to do with any of this.
But the story goes that he didn't find any bear for a couple days
so some well meaning guide brought an old, sick bear into camp
and said, "Here, Mr. President.   Here, You can shoot this."
So Roosevelt, who really didn't mind shooting many things including
Spaniards in Cuba, said, "No, I'm not going to do this."
But it was an item in the news.
Not a big item, and Berryman did a weekly page of vignettes
of the news, just illustrated happenings in the news,
and one corner of this page, one week is drawing a line
to Mississippi and it was just a guide with a bear on a rope
and Roosevelt going like this.
Well, something caught on about that picture, and it was reprinted
and because it was one aspect of one larger page, he re-drew it
and he wound up re-drawing it several times,
and that just caught the public's fancy.
And...   >> Excuse me.
Go ahead.
>> Rick Marschall: And other cartoonists started to draw bears
and identify them with Roosevelt and then a toy shop owner in Brooklyn,
I believe, took some stuffed bears and he named them,
inspired by that cartoon, "Teddy bears," and that took off and that's
where the teddy bear started; never got any royalties from it.
It was never official teddy bear.
Stieffe, I mean, every company in the world has done them since then,
and every kid has owned them; I did.   So, that was where that started.
And Berryman always made that his mascot.
In almost every cartoon he ever drew, even if Roose-
after Roosevelt died even, it would always be that little bear
and I have examples of his cartoons here,
but it's very Washington story; Clifford Berryman.
Yes?
>> Have You talked about the full page of cartoons
which everybody used to do?
You see that possibly coming back in?
"The New York Times" is running every comic strip [inaudible
audience question] ...newspapers will be going back to that?
[inaudible audience question]
>> Rick Marschall: No, I don't think so.
I think papers are too stupid to do that.
You know, "the New York Times," You know, by the way, there was a lot
of press about that first comic strip
"The New York Times" has ever run, they're very snobby about that.
But the first comic strip they ever ran was the Roosevelt bears.
They did a comic strip in 1906, written by Seymour Eaton,
and drawn through the months by three different cartoonists,
and that was they, and they had political cartoonists
through the years.   They try to hide that fact now,
but they had the Roosevelt bears, a newspaper feature.
So, it's been done.
But listen, the whole cartooning world has changed.
Fewer papers now than there used to be.
And I know cartoonists, and I don't mean to, well,
I'm not insulting cartoonists, but there is an extra pressure.
If there's only one newspaper in a city,
and You really should not offend one segment of Your readership,
there will be pressure on You not to be too extreme.
Now a lot of cartoonists still will be extreme on the left or right,
so I'm not saying they're all homogenized, but they can't be
as free wheeling as they used to be.
The nature of the business has changed
and I think the main culprit in, You know,
going on about the good old days, is that the role that cartoonists used
to play in Roosevelt's time, has largely been co-opted
by "Saturday Night Live" and John Stewart
and every wise guy on TV and the Internet.
Which okay, is okay if they're prescient comments,
and they're usually not, if they're clever
and persuasive, they're usually not.
It's usually echo chamber stuff and cheap shots, I think,
too often is what I mean.
And that brings me, and this is totally, You don't have to pay extra
for this opinion but, I really wonder, as much as I admire him
and think America is in screaming need of someone
like Theodore Roosevelt today,
I don't know if he could be successful today,
even if he were the same man, acting the same way,
with the same basic philosophy, because what was interesting
about him in his day, his personality, his exuberance,
all his personality tics and quirks that made him attractive,
a magnet in those days to cartoonists as well as crowds
who come out to see the President, by the way,
presidents before him never made these national speaking tours month
after month.   They just didn't.
Roosevelt started that.
McKinley, as a matter of fact, when he ran for president, didn't even go
out and run for president.   He sat for president.
He stayed on his front porch, he called "front porch campaign"
and people came to see him and he had a small yard.
Meanwhile, Roosevelt, the same campaign running for vice president,
toured 20,000 miles, criss-crossing the U.S.
So all these personality traits about him,
when he would tour the country and whenever he had an issue
that was hard to put across, he would tour the country
and persuade people, going over the head of politicians
and sometimes newspaper editorials.
But I wonder whether those same quirks and traits today would be
so savagely ridiculed that people would be prevented,
almost before they had an opportunity to take him seriously.
They'd just see him as this nut who talks funny and acts strangely.
And he did act strangely.
By the way, people used to think he drank a lot
and that explained how he would go crazy
on speaker's podiums and everything.   I hope we get the cartoons
up because this one that's never been seen,
it's not even in the book, but it was a cartoonist from "Punch"
in England who came over and was present at a speech Roosevelt gave
in 1895 when he was police commissioner,
and he did a whole page of caricatures
of Roosevelt in his speaking modes.
A lot of people thought he drank and after he ran for president
on the bull moose ticket, he sued a newspaper editor who wrote that.
He said that Roosevelt drinks all the time, all his friends know it
and he's often an embarrassment to his family.
Roosevelt sued him for libel and at great personal expense, he took,
I think 20 or 25 character witnesses, at his own expense,
all the way up to Michigan where his trial was held.
In the middle of the trial, the editor gave it up
and he said, "I made it up."
It was a Republican paper and the judge said,
"Well You can sue this guy for all he's worth."
Roosevelt collected only 6 cents, which was the minimum he could,
but he said, he didn't want it, for the sake of his family,
and the respect that he was due, but also for the sake of history,
he said he wanted to do something
that would forever make it impossible including us, today,
talking about him 100 years later, to think that that exuberance
and that, those personality traits were due to anything other
than his personality, which was a great personality.
Now Roosevelt would sometimes look at the ceiling
[laughter] yeah.   In fact, we'll make that work.
One of his favorites was a great aphorism...
>> Rick Marschall: He once said, in an admonition to Youth, he said,
"Keep Your eyes on the stars, but keep Your feet on the ground."
Isn't that great?
So, if You were inside, You couldn't see the stars;
You'd have to look at the ceiling.   Yeah, go ahead.
John Barley, ladies and gentlemen.   >> There we are, there we are.
[laughter]   >> Rick Marschall: All right.
I hope You've enjoyed the talk today.
[laughter]
>> If You need extra time, just take it.
>> Rick Marschall: Yeah?   All right.
There we go.   Just what?
Yeah, okay.
I won't take it personally if any of You up and leave,
as long as You don't throw anything at me, okay?
This be the cover of the book.
Okay. This isn't a cartoon, but it's a poster, painting someone did
in the 1920's, opening with this
to show You all the aspects of his personality.
Here he is, the painter caught, worked from photographs,
but him as a Youth and as a cowboy and as a boxer and a hunter
and a rancher and a big game hunter in Africa,
when he received the Nobel Prize.
So, that's a capsule way of saying what his career was about.
You know, he went to Africa when he left the presidency;
collected 10,000 specimens for the Smithsonian and the American Museum
of Natural History in New York which his father founded.
A few years later, he went to Brazil to chart an unknown river,
the River of Doubt, it was called.
He was 52 years old, almost died in that process
and now it's called the Rio Teodoro.
This is the only photograph that's in the book
and it's not really a photograph.
It's a photograph cartoon, Leslie's magazine ran it in 1916,
and this is the Roosevelt we all know, with the teeth and the glasses
and the moustache and everything, and I say in the book,
this is fascinating not just because it's the image people had
of Roosevelt, that he was always in Your face or we were in his face,
but interesting about this cartoon, this ran two days after the election
in 1916, which he was not a candidate.
Okay? So when Leslie's printed this,
they didn't know how the election was going to turn out.
As a matter of fact, it took more than two days because Wilson
and Hughes were fighting over votes in California.
Nevertheless, Leslie's ran this cover, didn't show Wilson,
didn't show Hughes, showed Roosevelt bursting through the paper,
so they were saying, that no matter who is president,
Theodore Roosevelt is still the pre-eminent figure
on the national scene.
And a year before this, because of his stands on the European war,
he was very unpopular; one of the few down periods of his career,
with the American public, and four years before the next presidential
election, so this really is a cartoon montage testament
to how popular he was at all times.
By the way, there was a New York politician who sued Roosevelt
for libel in 1915, during this down period.
Roosevelt criticized him for being crooked and the guy said, "Well,
You did the same things when You were in elective office,"
so there was a libel, a trial.   Roosevelt won, the guy lost.
Well that same politician, William Barnes, was asked three years later
in 1918, whether he thought in 1920 Theodore Roosevelt,
no longer in the scrap heap
of America's affections would be nominated
for president by acclimation in 1920.
Everyone assumed he would be the nominee, but he was asked
by acclimation, and this, okay, get it?
Former opponent said, "Acclimation, hell.
We'll nominate him by assault."   So that's how popular Roosevelt was.
This is the very first cartoon that pictured him face
on before the glasses and the smiling teeth and everything.
He was a 25-year-old assemblyman in the New York Assembly.
Singlehandedly took on Tammany Hall and severely restricted their power.
That's the Tammany Tiger there, the three figures
in the rear are former mayors of New York who couldn't reign
in Tammany Hall and Roosevelt did.
As Young as he was, he made a crusade of that
and Tammany was temporarily, but denuded of power for a while.
Here's that page I was talking about, from "The New York World,"
Harry Furnace was the cartoonist, cartoonist at "Punch."
He was visiting America, went to an after dinner speech.
Roosevelt was police commissioner of New York at the time,
but these are cartoons from his sketchbook
and You can just get the idea of, these weren't fantasies,
these were sketches he made at the time, that Roosevelt was never,
never a dull moment with this man.
I don't particularly like the devil's horns in the middle
of the picture, but the bulldog, ah, that works, You know?
Well here we have a cartoon also from 1895
and it shows the power of cartoon iconography.
Even at that early time, Roosevelt was police commissioner in New York
and one thing he did to clean up the police force is at night,
after day's work, he would roam the streets to check up on cops
on the beat, to see if they were taking bribes; this was very common,
or in saloons that they were protecting, protection money.
The police department was really rotten at the time.
So the idea of this cartoon, when by the way, this was neat.
You know, we can't make, all the time, computers work, but You know,
in 1895, they used to project advertisements on the side
of buildings, magic lantern sort of things.
It was really kind of cool.
So it has this cop reading a couple commercials on the left hand panel
and then when two ads combine for spectacles and smiling teeth,
Roosevelt was already known at that point by the icons of the spectacles
and the big smile and such, so it has the cop being scared there.
It's also cartoon iconography, this is from "the New York World,"
an opposition paper, but very much agitating
for the Spanish American War, "Cowboy troopers under Roosevelt,
who can ride, fight and shoot."   Well, they could.
Rough riders.
And the cartoon in the middle shows Roosevelt charging towards us
with a gun aimed right at the reader; very effective cartoon.
But it was a cartoon.   There was nothing true about it.
There were very few horses in Cuba.
Roosevelt had his, but he couldn't even use it on San Juan Hill,
so the Rough Riders didn't ride, but that didn't get in the way
of cartoonists and the adoring public.
Iconography, icons again.   Here we have McKinley.
He was usually dressed like Napoleon in cartoonists' depictions only
because they thought his profile looked like Napoleon's.
No other reason.
But he was president at the time and he's scared
by the shadow of Theodore Roosevelt.
Right after the Spanish American War, September of 1898, the shadow,
meaning that he, Roosevelt, could eclipse McKinley perhaps
in the affections of the American public and Republican party.
As a matter of fact, You take away the spectacles and the glasses
and You have any soldier in a hat, but Roosevelt was already known
and You know, cartoonists love this.   It makes their job easier.
Icons, You know, I drew during the Nixon era
and if he had a little pug nose, I would have gone
into aluminum siding or something like that.
I mean, some things about figures that say, "Draw me, draw me,"
and make Your job easier if You're a cartoonist.
This is a cartoon from "Life" magazine, where Roosevelt is,
speaks about him as a Renaissance man.
You know, his valet is asking, "What costume today, Excellency?"
but we have autocrat, cow puncher, preacher, warrior, peacemaker,
father of his country and teacher.
Well the idea is he was active in all those areas.
But You see, the one common element
with all those costumes are those spectacles and that's another thing
that just made him, You know, You just wonder,
"Would he have ever gone anywhere in politics
if he didn't have myopia or whatever."
And as a side item here, the valet here
in this cartoon is his personal secretary, William Lobe,
who was the father of the publisher for the first newspaper I drew for.
What's that?   >> Press stop.
>> Rick Marschall: Press stop.
[inaudible audience comment] On the screen?
>> Yeah.   >> With Your mouse.
>> Rick Marschall: With my mouse.   >> Press the letter S.
>> Rick Marschall: Okay, thanks.
Okay. In a bad way as a speaker if even the screen says, "Stop."
Ah, but I'm used to.
Anyway, William Lobe, this man's son, was my first,
the publisher of the first paper I drew
for who was both more conservative than I was, although I used to try
to have a contest with him, but he loved T. R. Now,
T. R.'s birthday every year, "The Manchester Union Leader"
in New Hampshire, and all the papers in his chain,
he would run a front page tribute to Theodore Roosevelt, which I loved,
and I would draw a cartoon, write a column about Roosevelt,
which he loved, and it was a great way to start a career.
Icons. Icons.
Roosevelt had the great white fleet that went around the world.
He was very proud of being a peacemaker.
I mean, he loved being a soldier and the,
what he did in the Spanish American War, ultimately,
ultimately awarded the Medal of Honor,
posthumously because of politics at the time.
But, he was, and he won the Nobel Peace Prize.
But he was very proud of the fact that as he said it,
not literally true because it was a Philippine insurrection,
but as he said it, "There was not one shot fired in anger at an enemy
of the U.S. for the entire seven and a half years that I was president."
He was very proud of that.
One way he was able to maintain the peace was to build
up the battle fleet, two battleships a year were added while he was
president and he sent the great white fleet around the world.
He painted them white, sent them around the globe
on a goodwill mission to friends and potential enemies
to show the newfound strength of America.
We just were on the world scene and to show the new battleships we had,
painted white in peace, and to put the fear
of God into potential enemies.
By the way, the Senate had no fear of God of Roosevelt at that time.
It was very much giving him, he was the lame duck, giving him trouble
on everything he proposed, including the budget for this trip.
They weren't going to authorize the money,
appropriate the money to send them.
So Roosevelt sent the fleet anyway, with enough in the budget
to get them halfway around the world [laughter] and he wrote a message
to the Senate, "If You want them to return to our waters,
You have my appropriations request."   And that happened.
We need someone like that today.
This I chose because it's, at his inauguration time,
a cover for Collier's, painted by Maxfield Parrish,
the great art nouveau artist, very realistic and it's not a cartoon,
but a popular illustrator of the day drew, painted him very realistically
in a couple of his typical figures.   Roosevelt was in popular culture.
I told You about a comic strip
to "The New York Times," the Roosevelt bears.
There were a lot of children's books, "Johnny
and the Teddy Bears," many teddy bear books.
He was a character in a lot of comic strips and here's one,
a popular strip of the day, "Foxy Grandpa,"
in which the grandchildren set up a wrestling match
with their grandfather, thinking that, "Oh,
he won't know who this stranger is and how he can be taken."
Well, the foxy grandpa ultimately takes Roosevelt, but he really was
in every aspect of popular culture of the day.
Advertisements, he never authorized any,
but advertisers would have a Roosevelt type figure endorsing
talcum powder and all strange sorts of things.
Here's the feature that ran
in "The New York Times," the Roosevelt bears.
Teddy B. and Teddy G. were the two main bears, but every once
in a while, Roosevelt himself would make an appearance.
He in no wise authorized this; he didn't particularly oppose it,
but he never played a role or profited from these.
This in July 1907, the last full year, no,
the last year before the presidential, before his retirement.
And I chose this because there's the typical image of Roosevelt
in his campaign hat, a cowboy hat perhaps,
the glasses, the teeth, the smile.
And I tell You because I've got the run of these magazines,
that most magazines, most popular weeklies at the time,
Warren Bernard knows this, and especially "Judge's Quarterly,"
"Judge" was the name of the magazine, the quarterly magazine,
it was the golden age of the pretty girl on the cover.
There will always be a pretty girl, the Gibson girl, right?
Or Howard Chandler Christy
or Harrison Fisher or any of these people.
But Roosevelt was so popular that when they strayed from that,
they would put this gnarly guy in moustache and specs on
and they'd probably sell more issues for him.
So he vied with the glamour girls to be a cover subject
on magazines in those days.
I mean, it was just the biggest thing on the continent.
Here's a cover from "Life" magazine.   Once again, the icons.
You know, he said, "Bully!"
a lot. Now "Bully," has kind of gone out of the language,
but he used to say it a lot, but it meant like, cool or neat or great.
Street kids would say it and Roosevelt would say it.
"Isn't it bully?"
You know. But we don't say it too much these days,
but bully pulpit has survived.
You hear politicians saying about the platform of the presidency,
and that was the phrase that he coined.
He also said, "Delighted."
"I'm delighted with that," he would always pronounce it that way.
Well here's a cover.
I told You he had to work hard not to be re-nominated in 1908.
He hand picked Taft to Secretary of War and a congressman from New York,
James Schoolcraft Sherman.
So those were the nominees of the party,
but the cartoonist here was saying on the cover of "Life"
that even though they were the nominees, Roosevelt was behind them
and behind almost everything.   Very clever cartoon, really.
The eagle and the flag and the specs form the shape.
When he was to leave for Africa, Grant Hamilton
of "Judge" magazine drew this cartoon
of his face made up entirely of animals.
Very clever cartooning.
And here we have, I think, the first of the wizardry of my partner John.
This is how my copy of "Judge" magazine from that day looked
and we get the idea, and we know it's old
and we know we should be gentle with it.
But, if You're doing a book, this is how it winds up in the book.
And the better to enjoy it.   Cartoonist best friend.
His cartoon, when he came back from Africa.
And if You think about it, this is really remarkable use of cartooning.
The cartoonist's art as a tool.   He came back from Africa.
Now there's no label that says, "T.
R." or ex-President Roosevelt, but yet we see Uncle Sam from behind.
Okay, we know it's Uncle Sam, because of the long hair
and the long tails and the striped pants and all that.
But Roosevelt, we just see this little figure, okay,
in a pith helmet and he'd come back from Africa so we knew that.
But all we need to know that it's Roosevelt are those glasses
and that toothy smile.
So this is a brilliant cartoon, in that way,
the tools that a cartoonist has.
"Harper's Weekly" at that time was a Democrat magazine, really opposed
to Roosevelt, but he received the largest, matter of fact,
the parade in New York has only been surpassed by the New York Mets
in 1969, thank You, and Lindbergh's parade in 1927.
But he was the only president born in New York City,
so when he came back, it was not just to America, but to the city
where he was born and where his ancestors arrived in the 1600's.
So it was a real, real homecoming and this is how the nation felt
about Roosevelt at that time.
Here we are, the very familiar figure of Roosevelt and this is
when he was thinking of running for president on the third-party ticket
and I don't know if You can read the caption, here he is under a tree,
looking sidewards at the White House, and a great pun,
Because a lot of the opposition to him running again,
most of the opposition was not
because he was taking insurgent or progressive stands.
It was some because he advocated the recall of judicial decisions
which I wish had passed, but that people could vote
to overturn judge's rulings in certain areas or any other reasons.
They were all there, but the third party campaign, there was a lot
of opposition to people running for president, for a third term.
Would he be a Caesar?
So this cartoonist took, "Speak softly and carry a big stick,"
cartoonists often drew him with a big stick, and made a pun out of it,
"The big sticker," that he wanted to stick in the White House, after all.
This one, he did start the Progressive party,
the bull moose party in 1912.
Cartoonist Donaghy from the Cleveland "Plain Dealer," drew this
and Roosevelt was the butterfly with my party,
from the chrysallis of the elephant.
Now he came in second that year, out of three parties;
the Republican came in third which attests to his personal popularity.
No organization, it was a momentary decision.
The nomination had been stolen from him and as a point of honor,
he figured he had to, he won almost every primary he ran in.
But if You can see the face of Roosevelt here,
through this cartoonist's career, Joe Donaghy,
he would always draw Roosevelt with the big specs and put T
and R in the lenses of his glasses, as if we needed to know.
But that was just his trademark, You know?
Well, by the end of this campaign, he and other opposition cartoonists,
were drawing the capital letter I and the capital letter of I
in the other lens, meaning that he was ego driven in this campaign,
that he was megalomaniac and just wanted power and all
about [inaudible] case of eye sore, You might say.
This is a German cartoonist from
"Cladderadach" [phonetic] a Berlin humor magazine.
You know, we've had the Democrat donkey since the 1840's,
the Republican elephant since the 1870's,
and every cartoonist has used them and will, but very, very seldom,
if You think about it, are the current leaders
of their parties pictures as an elephant or a donkey.
It just doesn't happen.   Why? Ask the cartoonist.
Ask me; I don't know why.
Just there are the elephants and donkeys and there are the presidents
and candidates and that's it.
But Roosevelt was pictured as a bull moose.
He was so identified with this movement and the party
and just really so identified with anything he got involved in.
So this is a rarity.
It was not during the campaign but very infrequent and You know,
it must have been a great temptation to cartoonists
because Taft weighed something like 350 pounds and I mean,
if You're going to draw a candidate as an elephant, there You go.
But that didn't happen either.
Now this was the cartoon drawn after Roosevelt died.
A good friend of his, Jay Norwood Darling of the Des Moines Register
and Tribune, and he was a good friend from the start,
and it was [inaudible] wound up designing the duck stamps
for the Federal government, in the 1930's, a hunter and,
when he got the news, he dashed out this cartoon to meet a deadline.
And he actually stole from himself; two years earlier,
in the death of Buffalo Bill, he drew a similar cartoon
of a ghostly figure of Buffalo Bill saying goodbye to children as he's
about to ride his horse to Val Hollow.
So, he did what was quick and easy and intended
to draw real detailed tribute cartoon the next day, but overnight,
this caught fire and was re-printed all around the country
and became an iconic cartoon and was on countless schoolroom walls
and home walls for years.
He did a limited edition etching and all like that;
became one of the great cartoons
in U.S. history, the "Long, Long, Trail."
So it could show what happens when You have to do,
and it's another Roosevelt phrase, "Do what You can
where You are, with what You have."
And then here's the cartoon I described to You before
and read the comment from Roosevelt, that this was his hero.
This was the voter he wanted to please.
It was not his wealthy contributors, it was not interest groups,
pressure groups, lobbies.
There were lobbies of course, in those days.
This is the person he kept in mind, all the time.
And when he saw this cartoon, he said, "You know,
that cartoonist nailed it.   This is not just the type
of character I'm devoting my life towards,
but this is the result I want my career to achieve,
that the common people were happy and more than happy,
proud of their president, Theodore Roosevelt."
And I think this is the last one.
And I will just tell You one more thing in having done this book,
that when I was a kid, there were books about Roosevelt.
America's rediscovering Roosevelt.
This is one of eight books that's come out this year about him.
We're falling back in love with him
and I hope it's not a temporary love affair.
I hope that we're rediscovering something about his values
and what was special about him that can inspire us today.
But when I was a kid, I got some of these books,
some books that he wrote, some books that were done at the time,
and I was just so caught up in this man that as Roosevelt did
with his cartoons, old guy with white whiskers, I kept in my mind,
an 8 or a 10 year old, Youngster as I was once, who got inspired
by those books in those days, that a kid today,
Youngster today might discover this book and rediscover Roosevelt
and get inspired by things that he did that were very inspiring.
And it's not [inaudible] it's cartoons that would do that work
and I pray I've succeeded and I hope I've given You an idea
of how powerful cartoons can do in this great work.
Thank You.   [ Applause ]
Now since everything was reversed, I guess we should do, how about this?
If You have answers, I'll do questions.
[Laughter] I don't know.   Yes.
>> [inaudible audience question]   >> Rick Marschall: Yeah.
>> [inaudible audience question]   >> Rick Marschall: Thanks.
Absolutely is.   Yeah, thank You for that.
He was first of all a speed reader.   He was an omnivorous reader.
He could read, did read, a book a day.
And there are many stories, I talked about them in the book,
where someone would bring him, leave a book off with him,
with a lot of notes, look at statistics and arguments and such
and say, "Let's talk when You read this," and meanwhile,
Roosevelt's been leafing through it and many stories like this,
and he shuts the book and he said, "No, I've read it."
And he says, "Okay, test me."
And he did and he would always do it.
He had a literally a photographic memory.
It's a clinical thing and he was a speed reader; that's a recent term,
but as a writer, he wrote more than 50 books.
And he wrote in subjects from of course politics and current events,
a lot of essays, but his, a lot of ranch stories, hunting stories,
collected in books, three books that way.
He wrote what are still definitive histories of the Naval War of 1812.
Even in Britain it's regarded as a basic text, and "The Winning
of the West," a four volume history, social and political history
of American expansion, up to the 1820's.
And many, many other books.   Natural history, of course.
He'd go down in history as one of our great natural historians,
if he had never gone into politics.
And as an article writer, You know he wrote
for kids' magazines and Christian magazines.
He was just well, a renaissance man, but yeah, he was a great writer
and his stuff holds up, really.   Yes?
>> [inaudible audience question]   >> Rick Marschall: Yeah, yeah.
That's a great question.
You know, the question was about my comments about his persona
and his exuberance and everything and the role of the play
and the movie, "Arsenic and Old Lace,"
in which if You don't know it,
it's a Frank Capra movie, Cary Grant was in it.
And very funny movie, but these two maiden aunts who kept coming
across lonely men and they took pity on them
so they would poison their tea to put them out of their loneliness.
And how do they get rid of the bodies?
Well they had Crazy Cousin Teddy and they'd convince him, time after time
that this poor old Mr. So and So, they had names in the movie,
were dead Spaniards from the Spanish American War and they needed
to be buried in the Panama Canal [inaudible].
So what role did that play in the public consciousness?
A lot. When I was growing up, I mean that's,
my father nurtured this, he did.
He would buy me books, he bought me autographs for Christmas, You know,
Roosevelt autographs for me, birthday, Christmas presents.
He really did support this, but he would also tweak me and he'd go
into a crazy bully, You know, charge up the hill and all.
I'd be going to bed, he'd say, "I charge him," okay.
But in a lot of America at that time, that was the time
to be bearish on T. R. I'm afraid to say.
You know, he was, he was a soldier, he shot things,
a lot of people just looked at the caricature, really.
He was down in the middle third of the presidents in rankings,
that maybe he was just an egomaniac who played soldier and played cowboy
and I say in the book, "A bull moose
in a china shop," or something like that.
So he had to be rehabilitated from that.
He started high and he is high now again,
but that movie played a big role
in people's perception of him, yeah it did.
It did. Yes, yes.   Yes.
>> Isn't it all possible that we don't have that many recordings
of his speaking voice,
because despite his macho appearance, he played under...
what I've read, his speaking voice did not match what people thought
of him.
>> Rick Marschall: Well You read that,
that he had a high voice and spoke in falsetto.
But the recordings, the testimony of friends and observers,
but also the recordings that do exist, that he had a baritone,
he had a conversational, middle range voice
and an affected Harvard accent when he spoke.
But it was a baritone.
But when he was aiming for emphasis or for humor,
to make a humorous point, and I have several parts in the book
where I quote people saying that he was probably,
maybe excepting Lincoln,
the president with the greatest sense of humor.
He was always joking, always laughing, always teasing.
And when he wanted to make a humorous point, he would break
into like a comical falsetto.
It was really weird, but that was part of it.
So, the kinard has remained that he had, You know they say that John,
was it John Gilbert, couldn't make it in sound movies
because when he was big star in silent films,
but when sound movies came along, he talked like this.
So he's not going to be a great leading man, You know?
But that's not the case with Roosevelt.
No, he didn't sound that way.
And a number of recordings exist, but they're not, like I say,
they were campaign documents for the most part, so he was reading them
and he had actually quite a rich voice in those.
Yes.
>> Of all the candidates that are running right now...
>> Rick Marschall: Thank You all for coming...
[laughter]
>> Are there any that lend themselves to You like Roosevelt...
[inaudible] are there any iconic?
>> Rick Marschall: Are there any candidates running today
who lend themselves to the iconic treatment?
In spectacles.   Well, we've seen this, that a lot
of candidates recently have been making spectacles of themselves,
but [laughter] I assume that's not what You mean.
>> Rick Marschall: You know, not so much.
And it's not really their fault,
that it's the case, but it says two things.
It's, we can make the observation that in a nation
of 330 million people, that seems odd that we, time after time,
can't come up with great, outstanding figures.
Not to save us, but to lead us and inspire us.
But it also says something about Roosevelt
in that he was exceptional.
I mean, it's not like every 20 years someone came along
with those great iconic qualities.   No, that really didn't happen.
He was the first to do that.
I mean, Lincoln was tall, and had the top hat and there was a lot,
but most cartoonists of Lincoln's day were against him.
So those characteristics were usually drawn
to attack him and disparage him.
Jackson was savaged by cartoonists, for instance.
With Roosevelt, it really was, as I said before, perfect storm,
but so today, no, I mean, I don't see it.
I'm willing to be persuaded, but I don't, You know, except for halos
and horns, but You can't really see them, it's in Your mind's eye
where You see them, but we don't see many
of those iconic characteristics.   It would help a candidate.
>> Yeah. Do You think that the characteristics [inaudible]
because they just don't have them or do You think [inaudible]?
>> Rick Marschall: Yeah, I think it's in their personalities.
I don't think it has to be, and I think it can go too far,
because as I said before, I think if Roosevelt were around today,
it would get in the way of the perception of him.
People would see the caricature first and substance second.
I'm afraid.   But yeah, today, no, I don't see.
Yes?   >> I...disagree.
>> Rick Marschall: Oh.   Is that Tom Gibson?
I'm not used to You disagreeing, so...
[laughter] Tom, by the way is a former chairman
of the National Foundation of Caricature and Cartoon Art.
Glad to see You, here.   >> Fabulous work.
Why do You think the Washington National [laughter]
to always lose the fourth inning president's race?
And do You think they'll ever win?
>> Rick Marschall: I'm a Mets fan, so I'm going to be,
I'm going to be prejudiced about them anyway, Well, I don't know,
but actually, who were the other...there were presidents right?
Lincoln? Mount Rushmore, okay.
Well, one thing, You had to be in that four,
even if there were no Mount Rushmore, he'd be the one
that You would look to model something distinctive after.
I have to assume he never wins because if they let,
if they played fair, Roosevelt would win any such race.
That's sort of like Roosevelt too, but he would have done
that after winning races, but no, Roosevelt, I mean, he was a boxer,
he did ju jitsu in the White House every day.
He had a tennis cabinet, not a kitchen cabinet.
So, I think if You went 100% with the stereotype about him,
he'd not only win every race,
but he would cross the finish line twice before the others caught
up with him.   So, that's my guess.
But some day's got to win.   He's got to win.
Thank You, Tom.
You can probably, You know, if there's a suggestion box
at the stadium, put it in.   [laughter]
>> Buy the book.
>> Rick Marschall: Yeah, there we go.
You know what?
Have one of those promotion nights, give away a book with every ticket.
Then they'd have to buy them first.   All right?
Yes.   [ Applause ]
No, we have one more.
I'm sorry, You're under the lights there.
>> You mentioned a resurgence of interest in T. R.
>> Rick Marschall: Yes.
>> For someone who may not be familiar with him,
would You recommend any particular books [inaudible]
>> Rick Marschall: Yes.   >> That would be number one.
>> Rick Marschall: What a great last question.
What books would I recommend?   Well, no, I can tell You.
I have, in my library, more than 250 books about him
and there are more done all the time and some books I don't have.
So there are a lot, but of the books that have recently been done,
Edmund Morris, and he won the Pulitzer Prize,
he's done a three part biography, terrific.
And there's some I don't like, that I don't think are fair;
the writers are carrying water for their own points of view
and making Roosevelt into something he's not really.
I grew up on Carlton Putnam's biography, 1958,
"Theodore Roosevelt, the Formative Years."
Stephan Le Ram did a photographic biography,
picture book that was just great, also 1958.
And a lot of other good ones.
Books that were done in the day, Owen Wooster was the friend
of Roosevelt who wrote a very evocative book.
Herman Hagedorn who carried the flame for years,
wrote many books on Roosevelt.
"Roosevelt Badlands," and he wrote a book, 1954, very informal,
not a formal footnote history called
"The Roosevelt Family of Sagamore Hill."
I try to give a picture in this book of Roosevelt as father, family man,
and that book, 1954, "The Roosevelt Family
of Sagamore Hill" gives a great picture of Roosevelt at home,
romping with his kids and giving them advice and disciplining them
and whatever he had to do.
It was a very important part of his life.
He thought it was most important part of his life
and Hagedorn nailed it in that book.   So, there are, those are some.
All right?   Thank you all very much.
[ Applause ]
>> This has been a presentation of the Library of Congress.