Female Speaker: From the Library of Congress
in Washington D.C. Male Speaker: Thank you very much.
Louis Bayard is one of Washington's best novelists.
He is a terrific writer.
No less august a publication than The Washington Post says
that Bayard has "ascended to the upper reaches
of the historical thriller league."
He's been an Edgar and Dagger Award winner --
award nominee and he has been named one
of "People" magazine's top authors of the year.
In his novel, Mr. Timothy, he brings Dickinson's Tiny Tim Cratchet
to life as an adult and as it turns out,
23 year old Tiny Tim is now living in a brothel trading room and board
in exchange for tutoring the madam.
The Pale Blue Eye, which has been optioned for a film,
fictionalizes Edgar Allan Poe's times at West Point
and his most recent novel, The School of Night is set partly here
in Washington and shifts seamlessly
between modern day America and Elizabethan England.
Bayard is also a nationally recognized essayist and critic
who has written for The Washington Post, The New York Times,
The L.A. Times, Salon and other publications who really rely
on his instincts for good writing and his razor wit.
And he is wickedly funny.
Consider this passage that I found from his novel, Fool's Errand.
"Once, without realizing it, they spent 10 minutes conversing
about two entirely separate topics.
Alex was talking about S & M lifestyles and Patrick was talking
about living in New York.
And they didn't realize their error until Alex said with an air
of finality, 'Well, it's a lot to go through just
for an orgasm.'" [laughter] Ladies
and gentlemen please welcome Louis Bayard.
[applause] Louis Bayard: Thank you, Kevin.
That was nice.
It's hard to top orgasms, isn't it, after that?
It's so nice to be here.   I speak partly as a local boy.
I grew up in Springfield, Virginia.
Are there any Springfielders out there?
Audience: Woo!   Louis Bayard: Woo!
Nice to see you.
I haven't been there in 20 years but I have fond memories of Springfield.
A proud graduate of West Springfield High School.
Audience: Woo!   Louis Bayard: Oh, there we go.
Female Speaker: Go Spartans!   Louis Bayard: Gosh, this is going
to be an interesting -- interesting time.
But -- so I've been enjoying the book festival, both as a consumer
and as a presenter and an introducer for I guess all eleven of its years.
A friend of mine -- we were talking about it earlier,
it's like Woodstock without the drugs.
It has that kind of muddy, free living,
happy quality that I associate with Woodstock.
And it's so nice to look out and see readers,
people carrying actual books with them.
You sort of go home and think, reading isn't quite dead yet.
So that's always a good thing to remind yourself of.
I did want to adjusted knowledge briefly --
where's my research angel?
Where's my escort, Addie Yokelsen [spelled phonetically]?
She's right there.
She's the one that I call at the Library
of Congress whenever I have some bizarre question
and she always answers them.
And then I just want to thank you all for being here.
Part of the problem with being on this end of it is that you have
to come up with something new to say each time so I looked
for inspiration to Jonathan Franzen.
He actually basically just gives one speech, apparently.
He has a stump speech.
And he just kind of does a global replace on the place names,
on the personal names, so -- for every speech he gives.
Sometimes he apparently forgets so -- to do the global replace --
so he'll be in Sioux Falls and he'll say how nice it was to go
to the Eiffel Tower this morning.   What a great experience that was.
So I had to go through all my many, many remarks over the past years
and look for something that would be suitable for this occasion
and for all future occasions.
Because this is a lot of work, generating new material.
So I came across this speech that I think will work.
We'll try it out here.
It was an address I gave to -- it was the associate plumbing program
of the Career Technical Institute of Keokuk.
[laughter] I'm just going to start
out because I think it's really suitable to this occasion.
"Greetings to you class of '08 and friends.
Gazing over these rows of mortar boards,
I am reminded of what my late grandfather once said to me: 'Louie,
he said, 'It's not what you know, it's who you know.'
But what did he know?
The truth is, there is great dignity and heart in ill paid manual labor."
[laughter] "And so today, as you face a future of toilets and sewers
and sump pumps, console yourself with this fact:
At least you're not in publishing."
[laughter] You know, this really doesn't work.
I don't this is going to work here.
Although the conclusion sort of works because publishing,
as we all know, has been seriously shaken up
and the industry is contracting and editors are being fired,
the old models are being thrown out.
Even old authors, even oft published authors are being cast to the winds.
And the problem, the resulting problem
as I see it is actually realizing when you've been cast to the winds.
Because it's not always clear and as writers we live
in a permanent state of hope.   We have to.
So we may very well miss the signs.
So I think we need to turn to those romantic advice manuals,
the "He's Not That in to You" kind of thing.
And so with that in mind, and as a gesture of public service
because we're standing on the National Mall in the heart
of the nation's government,
I've prepared a list for my fellow writers.
And it's called, "The Top 14 Signs Your Publisher is Over You."
[laughter] I started with 11 and then I started talking
to some other authors and it just grew and grew.
We just artificially capped it at 40.
I'll just go through it, again, in the spirit of public service
and reaching out to my fellow scribblers in the world.
So the top -- the first sign your publisher is over you, number one:
Your house is suddenly filled with boxes of free books.
They are your books.
[laughter] Number two: Your publisher changes your release date.
[laughter] Number three: When you ask why your marketing budget is
zero you are told that your sales will be review driven.
Number four, when you fail to receive reviews you're told
that your sales will be word of mouth driven.
Number five: Your publicist sends you a breakdown of your media tour.
There is not a single media appearance on it.
Number six: Every event you suggest to your publisher is described as,
"not a good use of your time."
When you ask what is a good use of your time,
[laughter] Number seven: No one
from your publisher has friended you on Facebook.
[laughter] Number eight: On of home page
of your publisher's website your novel is positioned below a follow
volume on Millard Fillmore.
[laughter] Number nine: When you visit your publisher in New York,
your editor tells you over lunch
that everyone is very excited about the paperback.
Your hardback has been out for one week.
Number 10: Your editor is very interested in your next book.
Number 11: The head of marketing squints at you
as though you are bringing her dry cleaning.
Number 12: On the door of your publicist's office is a copy
of The New York Times' best seller list.
On it she has highlighted the book
to which she has devoted all her energies.
The book is not, not yours.
Number 13: At one time or another in some meeting
in some room somebody will lean in and ask
if you've ever considered writing YA.
And the final, most unmistakable sign that your publisher is
over you, you can read this list out loud and know that no one
from your publisher will be in your audience.
Thank you.   Thank you very much.
[laughter] [applause] Thank you.   Is my book and there?
I left my book -- Of course that's not an autobiographical thing.
I'm delighted with my publisher and they gave me this pretty,
beautiful -- it's a beautiful cover and they're staffed
by deeply sympathetic people and it's just-- it's tough.
The business is in a lot of turmoil and so it's no wonder
that we hearken back to a time when words were just words.
They were generated with ink on pieces of paper and held
and touched, the simple days of yesteryear, I guess.
And the characters of my most recent novel are people
who pursue these bits of paper of vellum and linen rag,
pieces of paper that were considered highly disposable,
dispensable at the time they were written,
but that's what these particular people, collectors, live for and die
for and, in some cases, in extreme cases, kill for.
So we begin the story with a text, a piece of text -- not digital --
a snatch of a recovered letter.
"You will excuse me, I trust, for laboring in this vein.
I could find no better plaster for my wounds than memory.
In powerless times it is great joy to think upon our homely school
where we were glad to gather
and where your tutelary genius outshined every."
Who sent this letter?
Who received it and what is the homely school letter refers to?
Well therein lines a tail.
And it's interesting to me in retrospect
that the tale was inspired by a name.
The previous books I've written, the historical books, were all inspired
by characters in one way or another.
Mr. Timothy was of course was about Tiny Tim.
The Pale Blue Eye was about Edgar Allen Poe
at West Point Black Tower was
about a real life French detective named Vidoc [spelled phonetically].
It always began with somebody who intrigued me,
somebody who raised question marks in me,
somebody who needed a full hearing or a different hearing.
But this book had a very different Genesis and it happened --
I was just spending a day Googling, which is, of course, a time suck
but also a valid research tool,
and I spent all afternoon jumping from link to link.
And it's amazing how far you can jump in just a few minutes.
You can cover the span of civilization, it feels like.
And I found myself -- I think it was a Wikipedia entry,
and it was just -- my eyes glided to the top of the screen
and I saw this thing, the School of Night.
Now I'd never heard that name before,
but once I did I couldn't get it out of my head.
It had its own pulse; it had a mystery; it had a story.
I just had to find out what the story was.
I soon learned that the school wasn't your standard brick
and mortar establishment.
It wasn't a training academy for wizards.
It was just a group of guys, not just any guys, of course.
They were the leading intellectuals of their day.
It was Walter Raleigh and Christopher Marlowe.
And the rumor was that this school would meet late at night to engage
in our dark arts and heresy and to speak about things
that couldn't be spoken, ask questions, the very asking
of which was a capital crime.
Questioning the divine right of kings.
Questioning the divinity of Jesus, the very existence of God.
So the more I thought about these guys meeting in the dark of night
like this with the windows covered, the more I was intrigued by them
and I wanted to learn everything I could about them.
There was only one problem: There wasn't much to find.
And indeed, if you ask a lot of English literature scholars,
they'll tell you that there may never have been an actual School
of Night, at least not in a formal sense.
There's no paper trail.
If they ever did come together to pick each other's brains,
they didn't leave behind homework, curricula, dissertations.
We can only intuit the fact of what they talked
about from the writings they individually published
in their lifetimes and from the fact that many of them died very young,
even in an age when that was common.
Christopher Marlowe by the amnesty was killed in a tavern brawl
and highly suspicious murder.
Walter Raleigh was sent to the tower where he was eventually hanged.
Earl of Northumberland also went to the --
the Wizard Earl want to the tower.
So from the start I had a lot more questions than answers
and if I were a real historian, I would have despaired.
But fortunately I'm a much lesser being.
I'm a historical novelist.
And so the cloud that surrounded the School of Night became something
of a godsend for me because it meant I could make the school whatever I
needed it to be.
Very early on, for instance, I made a constant decision
to push aside the star pupils, Raleigh and Marlowe, in favor of one
of the least known members of the Group, a guy named Thomas Harriet.
Now if you're asking, Thomas who, that's the very same question I had.
And as I did my research, that question morphed into,
why don't I know this guy?
Why doesn't everybody know about this guy?
He is known in certain circles
as England's Galileo and for good reason.
He was doing pretty much everything Galileo was doing while Galileo was
doing it., measuring the downward acceleration of objects,
using a telescope to map the moon.
Harriet was the very first person ever to map the moon.
Witnessing Halley's Comet, long before Halley did.
Discovering a key law of refraction years before the man who is credited
with discovering it, the beautifully named Willebrord Snell.
Snell's Law should not be called Snell's Law.
It should be called Harriet's Law.
But what really got me excited about Harriet was learning
that he was the first English scientist to explore the new world.
He was there before the Lost Colony and he was walking
around taking notes and the notes produced a book which is still
in print and is still very much worth reading.
It's called A Brief and True Report of the Newfound Land of Virginia
which of course is what they called North Carolina in that time.
So that was when I knew this was my guy.
And in fact, when we first meet him -- and this is a very brief passage
from the book, he is -- we first meet him, actually, in Virginia
or dreaming of it, anyway.   "He still dreams of Virginia.
It's always high summer there.   The air is piled in damp drifts
and everywhere there's a smoke of rotting persimmons.
The clouds are sun dizzy.
He was a young man when he went, 25, stuffed with books,
cringing from the light, in no way prepared --
how could he have been -- for the plentitude that met him.
Tapestries of silken grass, gourds and pumpkins, thick shelled walnuts,
a river as wide in places as the Thames, it was all more
than he could bear in some moments.
And after a time the thought of leaving it was harder to bear.
Now and then his throat would catch and wonder, somewhere,
in this salt stung wilderness lay, by his own estimate,
28 types of beast never before seen by Western man.
And who was the man charged with finding them,
knowing them, naming them?
Tom Harriet of Oxfordshire, charter of a new world.
For whole weeks he wandered, every day a new day, mapping the flight
of a marlin hawk, gauging the length of the native herring.
By now the Algonquins left him largely to himself
so he passed hours and days unmolested,
never so much as glimpsing another human being.
In his quietest intervals he could imagine himself the lord
of his own vast, green, unpopulated island.
'Here I will be,' he remembers thinking, 'always.'.
But outside his peaceable kingdom, things were falling apart.
From the start, the colonists had been at odds with the Indians.
Skirmishes had broken out.
Villages were raided and burned, a chieftain assassinated.
When Sir Francis Drake came unexpectedly calling,
the colony's leaders leaped at his generosity to go back to England,
to be free of the savages.
It never occurred to them that one of their party might wish to stay.
They left in the middle of a hurricane.
This sky was black, the breakers high as mastheads.
And the (inaudible) carrying Harriet to sea kept grounding on sandbars.
Desperate to be gone, the sailors began jettisoning everything
on board.
In silence, Harriet watched his chests and books, his writings
and instruments, his astrolabe sinking in the teeming water.
By the time the sailors were done,
the only possessions left him were the clothes on his back
and the pages he had tucked in his boots
and a handful of roots in his pockets.
From the stern of Drake's bark he watched the shoreline blur
into mist and hail."
So when we next pick up with Thomas Harriet the year is 1603.
It's a very fraught time in English history.
Queen Elizabeth has done something
that no one was ever sure she would do: She has died.
And the question of succession immediately raises itself.
From the north comes down James of Scotland.
And the people who are once beloved
of the queen are no longer beloved o the new king including Walter
Raleigh, among others.   So we find Thomas Harriet living
in a place called Cyan House [spelled phonetically]
under the patronage of the Wizard Earl, discovering things
that he will never share with the world
because the world isn't ready to hear them.
And in fact, we're still getting around to knowing what Harriet knew
and when he knew it, to use an old Watergate parlance,
because he published so little in his lifetime.
The more I pondered his enigma, the more I wondered
if he wasn't putting his findings in a kind of trust for us,
the generations of the future, creating a school of night
that could bridge past and present.
The structure of my book really flows out of that fancy.
We have at one level a love story about Thomas Harriet
and the young woman who comes to work for him.
We also have a modern day quest in which a group of the adventurers,
some less savory than others, are hunting for Harriet's treasure,
the pope's ransom that he may have left in,
of all places, North Carolina.
At first these two narratives sit side by side then they begin folding
around each other until by book's end the two stories have converged.
And it's a novel, as a result, that embraces many different forms.
There's tragedy.
There's a surprising amount of lightness for a book
that features the plague.
There is actually a fair amount of yuks to it.
Romance, adventure, even a whiff of the supernatural,
but all applied toward a common end, toward the plumbing of this mystery
which was the same mystery that washed over me when I first listened
to that name, the School of Night,
that sense of darkness but also boundlessness.
And I wanted to do right by that name but also
by the people that inspired the book.
And one of those people who makes a cameo appearance, but a pivotal one,
is a guy named Shakespeare.   You may have heard about him.
It's significant to me.
I said that I'd never heard that name, School of Night,
before but I lied because many years ago, more than I even care to say,
I appeared in an undergraduate production of the School --
no, sorry -- Love's Labour's Lost by aforementioned Shakespeare.
And it's one of his early comedies and his lesser produced comedies
and kind of for good reason.
It's maybe the only Shakespeare play in which you have to say some
of the lines and a Russian accent.   It's that random.
And so, I will always treasure the moment
when I said (in Russian accent), "Farewell, ladies.
You have simple wits."   That was my best Russian accent.
[laughter] It was undergraduate.   It didn't matter so much.
But there was a line that completely escaped me at the time.
It was really, I thought, a throwaway line.
It comes -- well, the plot -- I'll just briefly outline the plot --
is about four gentlemen, Spanish gentleman,
who forswear the company of women.   They want to become scholars, right?
And live in isolation and create what they call a little academe
like Plato had.
And of course, in due nature -- in the very first act, in fact --
four hot women from France come over.
The men conveniently fall, each for their own girl,
and immediately forswear -- forswear their vows.
And in fact, I think, three or four,
they have been found out by each other.
The jig is up, and they fall back on the old masculine prerogatives
of insulting each other's girlfriends.
And so, the king mocks his best buddy, Berowne,
for having a girlfriend who's brunette.
That was quite the shame, I guess, in those days.
And the line he says is, "Oh paradox, black is the badge of hell,
the hue of dungeons and the school of night."
I blew through that line.   I had no idea it had any value.
It was about the 1920's that a group of English scholars parachuted
out of that little turf of text and said, wait a minute?
Is he referring to this school of --
this reputed school of atheists that Thomas Harriet and Raleigh -- ?
And now there are people who believe this whole play is a little jab
in the side of the school
because Shakespeare was conspicuously not part of it
and was pretty much on the opposite side
of every political fence from these guys.
And for that reason, is the one who lived.
That's one of the interesting things about Shakespeare is
that his work lives because he lived.
There was a time when he almost got in trouble,
it was right after the Earl of Essex was executed.
He was alive with the Earl of Essex.
If he'd been executed, we would never have had Othello or King Lear,
so it makes you aware of the provisionality of so much
of what lasts in literature.
So Shakespeare was always part of this exercise.
And you know, I'd be lying if I didn't feel like he was --
I was paying a bit of debt to him as well.
But the people I had in mind
from the whole time were the school itself.
When I wrote The Pale Blue Eye, I had a --
on the shelf over looking my desk --
I had an Edgar Allan Poe action figure.
It didn't have a lot of action to it, I have to tell you.
It really just had a detachable raven on the shoulder.
You just pull it off, put it on, it really wasn't great fun.
But it sat there as a kind of, as a kind of reminder of what was
at stake and my duty, I guess, to the past to get it right or a least
as close to right as I could get it.
And then with the School of Night, I didn't have --
I didn't have any action figures.   In the case of Thomas Harriet,
there's not even a confirmed painting of him.
We don't even know what he looked like.
So they were there in more of a spiritual sense or,
put it less mystically, I wanted to do right by their example.
Because one of the things that continues to inspire me
about the school of night was whether or not they met as a school.
They individually and collectively dared to question orthodoxy,
and that's always a brave and doomed endeavor and so we celebrate them,
usually, as intellectual martyrs generations after the fact.
But it does make you wonder, where is our school of night today?
Who are our -- who's out there asking these profoundly
troubling questions?   And how are we responding to them?
Are we trying to answer the questions?
Are we hoping and praying the questions go away?
Or are we actually trying
to eliminate the questioners wholesale from the earth.
In that question lies, perhaps, our salvation.
But I do wonder sometimes looking back and when they look back
at us a few centuries from now, who will the people be that we oppressed
and kept from telling their truth?
That's a question I carry forth with me every day of my life, I guess.
So that is my basic presentation.   What time we got?
I think we have time for about --
some questions if anybody wants to soldier forth.
Oh, thank you.   Thank you very much.
Oh and yes, please come to the mikes if you have any questions.
You know, Edmund Morris did this beautifully.
If anyone was there on Friday, authors,
he paused beautifully for applause.
He just -- it was a perfect little --
just two seconds and then let it wash over him.
I've got to -- still learning the tricks of the trade here.
Yes, oh yes.   Female Speaker: Hi, Lou.
Louis Bayard: Hi.
Female Speaker: I'm kind of interested in the process
of meshing history and fiction.
Kind of, do you ever feel like going in a direction then saying, no,
that can't be supported by anything I know?
Louis Bayard: Yes.
Female Speaker: How do you determine what's okay
and what's going too far and what's?
Louis Bayard: Yes, you're asking about ethics, right,
of which I have none, as you may know.
Female Speaker: Well ethics and maybe how true
to history were you trying to be?
Louis Bayard: Yes, I -- that's a very good question and it's one
that every historical novelist struggles with because you
at least want to create a feeling of verisimilitude.
You don't want anything jarringly anachronistic,
something that's going to push people out the story.
But I always err on the side of story in regard to everything.
I tell this story sometimes.
This woman who read Mr. Timothy sent me an email and she said,
"I just what you know that poinsettias were not
in English drawing rooms as early as 1840.
There were still migrating over from Mexico."
[laughter] And I said, "Actually, I did know that
and I am a whore for a good detail."   Which is true.
I am a whore for a good story, detail, joke.
But something -- it's always about making the story live.
And that's why I'm so not a historian.
I don't learn everything I could possibly learn.
I'm not an expert on anything I write about.
I play one on TV.
But I don't -- I learn just enough to be able to tell the story
and make it come to life but -- and then I move on.
And then move on to some other --
to ransack some other period of history for my uses.
Yes. Is this someone approaching?
Ah. Female Speaker: I actually heard you speak
at Olsen's went Olsen's was still around.
Louis Bayard: A moment of silence for Olsen's Books, by the way.
Thank you, guys.
Female Speaker: A venues for personal appearances get reduced,
as publishers' budgets for authors' tours get reduced, as reviewers face
in papers -- as newspapers go away, it seems authors are expected more
and more to do self promotion.
Is that sufficient and adequate replacement
for what was in the past?
Louis Bayard: Oh, that's a great question.
Did everyone here that?
It's about whether authors' self promotion can --
I don't know if it's sufficient.
It seems to be the only option in some cases.
And yes, authors are having
to do something they're often not very good
at which is promoting themselves.
That's an entirely different skill set then what made you an author
in the first place.
Authors are often very introspective.
And if you were raised, I don't know, in my generation,
you're kind of told not to brag about yourself so you have to get
in a whole different mindset.
Okay, I have to post this on Facebook.
I have to let everyone know
that I got a great review in the Kirkus Weekly.
And have to tweet about it.
I have to do all these things that are not congenial, and it's too soon
to tell whether it's making up the difference for the lack of any kind
of promotion from the publishers.
Because everyone is experiencing that across the board.
They've thrown out the old book tour model and that's a good thing
because that was never cost effective to send people --
authors -- around the country at an extraordinary expense
to sell maybe a dozen copies a night in some bookstore and one
of them was to the drunk off the street.
It wasn't a very economically wise model but it was
about building relationships with bookstores,
which of course don't exist in the same number.
And now I think everyone's scrambling.
I can think of very few publishers that are --
have really climbed on board the social media.
It's starting to happen but very slowly.
It's a little bit like the Titanic.
It's turning but will it turn in time?
It's interesting to see, but publishers are still making money.
I think it's the authors who are making less and less --
getting a piece of the pie.
I could go on for days, can you tell?
I'm a whining malcontent.   [laughter] Anyway, yes.
Hi. Female Speaker: Hi.
So I want to ask a question I'm sure you get asked all the time
but what drew you to writing about these particular historical figures?
How did you get started with this and do you have a background
in literature or history that started you on this path?
Louis Bayard: On the historical novel path.
It really was -- I can blame it on Tiny Tim.
That was what put me there.
I for some reason conceived the idea of writing about Tiny Tim and it was
for two reasons: One, because I loved Dickens and I wanted
to render homage and two, because I hated Tiny Tim and wanted
to do bad things to him over the course of a novel.
And so, it was really -- the prerequisite of doing that
and then I had to figure out what a Victorian underworld would have
looked like, what London would have looked like and immerse myself
in that time and read Dickens and Wilkie Collins,
wonderful Wilkie Collins,
and a wonderful social historian named Henry Mayhew
and just get into it.
I have no historical background at all but it was such a fun process.
And, may I just add, this is most incredible town
for doing research in.
I live six blocks from the Library of Congress, the Smithsonian.
The Smithsonian has its own libraries.
And it's an amazing place to be a writer of history,
partly because history is ambient.
It's imminent in everything that we have here.
So it just proved so congenial that I kept doing it.
And I'm still doing it.
And in fact, I've found that in the current book because half
of it's set in modern day D.C., that people are kind of startled
to not have someone wearing a doublet or waving a parasol,
to have someone sitting at Peregrine Coffee, which is my alternate office
on Capitol Hill -- thank you, thank you, Peregrine --
and all these modern day references.
But I also found, interestingly enough, that I had to do almost
as much research for the modern day stuff as I did for the history
because you can't actually fake the modern day stuff as easily
because people will catch you out.
There's more than one poinsettia lady
out there waiting to trip me up.
Oh. Female Speaker: I work in a library and these are coming
in every day so are you planning a YA novel?
Louis Bayard: Say that again?
Female Speaker: I work in a library and I see these happen all the time
that adults are writing teen novels.   So are you planning a teen novel?
Louis Bayard: Oh.
I am certainly not opposed to a. I made the YA crack because I knew
of two or three authors whose adult titles were not selling
and they were shunted down.
It's like, have you ever considered YA?
It's time to give up the grown up audience.
YA, I think, is one of the most healthful sectors
of the publishing business right now.
I definitely have considered it and I'm still kind
of spinning ideas around in my head.   I have a friend and he wants
to do the same thing and we may collaborate.
His name is James Reese.
He also does historical mysteries and we're definitely --
I definitely like the idea of it.
I would love to write something that my kids would actually read.
If they read.   [laughter] He just looks up.
Yes, he just looked up from my phone that he's playing on.
Yes. Anything else?   Going? We can talk about Glee, too.
I'm very conversant about Glee.   I think we're good.
All right, thank you all so much.   It's great to see you.
[applause] Female Speaker: This has been a presentation
of the Library of Congress.   Visit us at loc.gov.