WEBVTT - 5. This American Life

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<v Speaker 1>I love this sign of Laura and Almonzo's height.

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<v Speaker 2>Almonzo was only five four.

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<v Speaker 3>So here's the great irony of Laura Ingalls Wilderla. On

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<v Speaker 3>the one hand, part of the deep magic she works.

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<v Speaker 3>The reason so many people, including me, are devoted to

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<v Speaker 3>her from childhood is that she's a real person.

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<v Speaker 4>I want to stand up against it.

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<v Speaker 2>All right, So Laura was four eleven, you're a few

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<v Speaker 2>inches taller than Almonzo.

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<v Speaker 3>Wow, the story she wrote actually happened.

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<v Speaker 5>Well.

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<v Speaker 3>Laura talks about it's half pint. She always talks a

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<v Speaker 3>lot in the book about how short she is, and

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<v Speaker 3>then when she.

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<v Speaker 4>Went to teach school for the first time, how much

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<v Speaker 4>how tiny she was in comparison to the students.

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<v Speaker 3>She had to teach. You open her books and it's

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<v Speaker 3>as though you step into her world and then walk

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<v Speaker 3>along with her every step of the way. Eventually her

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<v Speaker 3>story becomes your story, and then you can go out

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<v Speaker 3>on the road you can see it all for yourself.

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<v Speaker 3>But that really puts it in quick roast. On the

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<v Speaker 3>other hand, she's a real person with serious flaws. Discovering

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<v Speaker 3>this can be jarring, Like, do you remember the first

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<v Speaker 3>time it occurred to you? Your parents were actual people

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<v Speaker 3>in the world, with hang ups and flaws in questionable views.

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<v Speaker 3>It's shocking and it can be destabilizing. This, I think

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<v Speaker 3>is sort of similar to the experience of coming up

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<v Speaker 3>against Laura as an actual person.

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<v Speaker 6>I had a fantasy as a young child that like,

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<v Speaker 6>this was their life.

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<v Speaker 7>This was just like Saran Rep.

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<v Speaker 6>I was just staring straight through something into the full

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<v Speaker 6>life of Laura Ingalls.

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<v Speaker 3>That's writer Rebecca Treister, who, like many of us growing up,

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<v Speaker 3>myself included, understood the Little House Books to be a

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<v Speaker 3>true account, and who, like many of us, was shocked

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<v Speaker 3>to discover this wasn't the case.

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<v Speaker 6>We went to hear this presentation from a local historian

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<v Speaker 6>at a local libraryan Syracuse, and the thing that I

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<v Speaker 6>remember most about that was that it was the first

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<v Speaker 6>time it was ever explained to me that there'd been

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<v Speaker 6>this gap where baby had died right when where Mary

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<v Speaker 6>had gone blind, and this period didn't appear in the books,

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<v Speaker 6>and I was kind of gobsmacked by that.

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<v Speaker 3>Discovering that there were parts of Laura's life she hadn't

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<v Speaker 3>told us about sort of felt like finding out your

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<v Speaker 3>parent had a secret family somewhere else, another life entirely

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<v Speaker 3>that you knew nothing about. But this revelation comes to

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<v Speaker 3>all Little House readers at some point. Maybe it's rereading

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<v Speaker 3>the Little House Books to your children because you remember

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<v Speaker 3>them as sweet and cozy and safe, and then you

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<v Speaker 3>open them up and holy crap, ma said what. Or

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<v Speaker 3>maybe thanks to some solid therapy, by the end of

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<v Speaker 3>book four, you're beginning to suspect Pop might not actually

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<v Speaker 3>be the dazzling hero you've been led to believe. And

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<v Speaker 3>then as you go along certain scenes, ones that have

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<v Speaker 3>been there all along, start to jump out, like holy cow.

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<v Speaker 3>Their lives are filled with danger and deprivation. There's real starvation.

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<v Speaker 3>What about those plagues of grasshoppers? Or maybe return to

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<v Speaker 3>the Long Winter as I did recently and quickly being

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<v Speaker 3>in to wonder if in fact this is a lost

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<v Speaker 3>horror story by Stephen King.

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<v Speaker 7>The extreme poverty that the family suffers in the book

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<v Speaker 7>is softened by Wilder's own affection for the character of

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<v Speaker 7>Paw and by the pioneer stoicism and optimism with which

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<v Speaker 7>the Ingalls family faces every new challenge.

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<v Speaker 3>I don't think it's possible to fully understand how well

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<v Speaker 3>the Little Housebooks were crafted until you realize what was

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<v Speaker 3>actually going on, both in Laura's immediate world and in

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<v Speaker 3>the America she was living in. Was Laura just trying

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<v Speaker 3>to soften her life story for young readers, or was

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<v Speaker 3>she driven by a desire to redeem her beloved father

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<v Speaker 3>while also attempting to heal a whole lot of her

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<v Speaker 3>own childhood trauma. In this episode, we're going to fact

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<v Speaker 3>check Laura, what was true, what was truly fiction, and

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<v Speaker 3>what was left out entirely. I'm Glennis McNichol, and this

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<v Speaker 3>is wilder. Despite my childhood desire to reshelve the Little

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<v Speaker 3>House Books into the nonfiction section. Little House on the

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<v Speaker 3>Prairie is not a documentary. There is actually a reason

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<v Speaker 3>it's fiction, many reasons, And the truth is, if it

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<v Speaker 3>was a documentary, I'm not sure many of us could

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<v Speaker 3>stand to watch it. Laura and Rose didn't just change

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<v Speaker 3>a few details. They switched entire timelines, cut out huge chunks,

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<v Speaker 3>combined people, added pets and scenes that didn't actually exist.

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<v Speaker 3>If you're a lover of the books, consider this a

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<v Speaker 3>trigger warning. If you love Jack the Dog, maybe stop

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<v Speaker 3>here before we get into the bigger questions of why

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<v Speaker 3>and what else was happening in America outside the Little Houses.

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<v Speaker 3>We're going to walk through the basic chronology of what

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<v Speaker 3>actually happened in Laura's life versus what the books said

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<v Speaker 3>was happening.

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<v Speaker 8>Oh that.

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<v Speaker 3>The Little House is no longer in a Big Woods.

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<v Speaker 3>It's Enrolling Farm County.

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<v Speaker 4>Little House has neighbors now.

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<v Speaker 3>Joe and Emily and I have arrived in Pepin, Wisconsin,

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<v Speaker 3>birthplace of Laura Ingles Wilder and the setting of her

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<v Speaker 3>first book, Little House in the Big Woods. Unlike the

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<v Speaker 3>rest of the Ingles houses, Pepin does not feel remote.

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<v Speaker 3>Many of the towns along the river here are holiday destinations.

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<v Speaker 3>There's a winery in Pepin. Even on a weekday it

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<v Speaker 3>feels bustling. The Little House in the Big Woods is

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<v Speaker 3>about a ten minute drive out of town.

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<v Speaker 4>It's so tiny.

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<v Speaker 3>Yeah, I mean, it's a replica, but it still really

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<v Speaker 3>is little. When you get there, there's just a little

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<v Speaker 3>log cabin and a very large plaque. The plaque reads

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<v Speaker 3>a lot like the opening of Little House in the

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<v Speaker 3>Big Woods.

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<v Speaker 4>Once upon a time, a little girl lived in the

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<v Speaker 4>Big Woods of Wisconsin in a little gray house made

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<v Speaker 4>of logs. Writing about herself in her life here, Laura

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<v Speaker 4>Ingles Wilder thus began Little House in the Big Woods,

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<v Speaker 4>the first of her famous Little House books.

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<v Speaker 3>But read further and the facts start to diverge from

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<v Speaker 3>the stories readers are familiar with from the books. Laura

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<v Speaker 3>was born here on February seventh, eighteen sixty seven. Late

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<v Speaker 3>in eighteen sixty eight or in the spring of eighteen

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<v Speaker 3>sixty nine, the Ingles family left Wisconsin and traveled by

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<v Speaker 3>covered wagonto Kansas. They found Kansas to be Indian Country.

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<v Speaker 3>It wasn't Kansas at that point, it was Osage Indian territory.

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<v Speaker 3>So shortly after Carrie was born in August eighteen seventy,

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<v Speaker 3>Charles Ingles brought his family back to the Little House

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<v Speaker 3>near Peppin so Little House in the Big Woods the

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<v Speaker 3>book is based on their second sojourn in Wisconsin. And

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<v Speaker 3>then because she the same house, and because she wrote,

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<v Speaker 3>did you get all that? Let's go over the story

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<v Speaker 3>of Laura's first year's point by point, as I did

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<v Speaker 3>with Oh, the Ingles family actually lived in the Big

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<v Speaker 3>Woods twice?

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<v Speaker 4>How does that work? Explain that?

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<v Speaker 9>To me?

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<v Speaker 3>She was born there and then when she was about

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<v Speaker 3>three years old, Paw relocated them to Indian Territory, which

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<v Speaker 3>was the Osage Diminished Reserve and what is now known

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<v Speaker 3>as Kansas And they stayed there for about a year

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<v Speaker 3>and then they returned to the Big Woods when Laura

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<v Speaker 3>was about four, and that's where the series starts.

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<v Speaker 4>Okay, that makes sense to me.

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<v Speaker 7>Now.

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<v Speaker 3>The reason the series starts there is because they didn't

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<v Speaker 3>envision this to be a series of books. They thought

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<v Speaker 3>it would be one story and that this was a sweet,

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<v Speaker 3>sort of fairy tale story set in the Big Woods.

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<v Speaker 3>So what she's writing is true. But where it gets

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<v Speaker 3>complicated is as we know that book was a success,

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<v Speaker 3>so when she comes back to write about them being

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<v Speaker 3>in Indian Territory so called, they have to sort of

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<v Speaker 3>finaggle the timeline and make her older in that book

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<v Speaker 3>than she actually was in.

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<v Speaker 4>Real life, right, so that it makes sense to go

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<v Speaker 4>from Big Woods to the prairie.

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<v Speaker 3>Right. Okay, So in real life when they lived in

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<v Speaker 3>Indian Territory, Laura was only three and Carrie wasn't born yet.

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<v Speaker 3>In the book version, she's six or seven, and Carrie

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<v Speaker 3>is a baby. And this is where it gets a

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<v Speaker 3>little tricky, because how much can a three year old

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<v Speaker 3>remember about their life sixty years later.

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<v Speaker 4>So whose memories are they? Whose stories are they? Are

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<v Speaker 4>they Laura's? Are they pause stories? Are they mas stories?

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<v Speaker 4>And that's the cup location with memoirs, And this is

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<v Speaker 4>fiction written very similar to a memoir, And yes, whose

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<v Speaker 4>story is this?

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<v Speaker 3>That's yeah? And then don't you bring Rose into the

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<v Speaker 3>equation as we have done, and it gets more complicated right.

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<v Speaker 4>Right from the very beginning, it was a mix of

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<v Speaker 4>fact and fiction.

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<v Speaker 3>So if Little House is a mixture of fact and fiction,

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<v Speaker 3>how do we separate one from the other. To what

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<v Speaker 3>extent can we trust the memories of a sixty five

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<v Speaker 3>year old woman, particularly around events that occurred when she

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<v Speaker 3>was quite young. Caroline Fraser pulled us. A prize winning

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<v Speaker 3>author of Prairie Fires, a biography of Laura Ingleswilder thinks

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<v Speaker 3>Laura was actually blessed with an extraordinary memory.

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<v Speaker 10>It's probably a combination of direct memories and reconstructing from

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<v Speaker 10>stories she heard. But I think she absolutely remembered going

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<v Speaker 10>across the planes, looking out the you know, sort of

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<v Speaker 10>hole in the wagon cover and seeing these prairies.

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<v Speaker 3>Caroline's referring to the opening chapters of the book Little

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<v Speaker 3>House on the Prairie, which in real life took place

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<v Speaker 3>when Laura was three years old, because.

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<v Speaker 10>I think she totally remembered the scene where they crossed

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<v Speaker 10>the river and Pau almost loses control of the wagon

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<v Speaker 10>and they're nearly swept away.

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<v Speaker 3>It's understandable Laura would remember that. And following this scene

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<v Speaker 3>is an even longer one where beloved family dog Jack

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<v Speaker 3>goes missing and is presumed dead.

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<v Speaker 4>He's not.

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<v Speaker 3>He returns, much to everyone's joy. Okay, are you ready?

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<v Speaker 3>It's time to talk about Jack the dog. Throughout the

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<v Speaker 3>early books, Jack functions as Laura's protector and best friend.

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<v Speaker 3>He understands her, he was, she writes as especially Laura's

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<v Speaker 3>own dog. The opening of the fifth book, by the

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<v Speaker 3>shores of Silver Lake, in a chapter titled grown Up, Jack,

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<v Speaker 3>now weary from all his travels, dies in his sleep.

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<v Speaker 3>Pa assures a devastated Laura that Jack has gone to

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<v Speaker 3>the happy hunting grounds. Good dogs have the reward. He says,

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<v Speaker 3>Jack's death is a sign for the reader too. Laura

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<v Speaker 3>is no longer a child. She's thirteen. Now she's going

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<v Speaker 3>to have to fend for herself. This is all made up.

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<v Speaker 7>Jack, as he appears in the Little House Books, is

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<v Speaker 7>essentially all fictional, and for me that was like devastating.

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<v Speaker 3>That's Pamela smith Hill. She's a biographer of Laura and

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<v Speaker 3>edited the annotated Pioneer Girl. We talked extensively about Pioneer

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<v Speaker 3>Girl in episode two. It's Laura's original memoir for grown

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<v Speaker 3>ups on which the children's books were eventually based, and.

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<v Speaker 7>There page two or three of the manuscript I found

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<v Speaker 7>out that Paw traded Jack along with the ponies.

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<v Speaker 3>Let's return to on the Banks of Plum Creek. It's

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<v Speaker 3>the fourth book in the series, and it's pivotal in

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<v Speaker 3>the fact versus fiction discussion. When the book opens, Laura

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<v Speaker 3>is eight years old. The Ingles have just arrived in

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<v Speaker 3>Walnut Grove from Indian Territory. Remember the part at the

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<v Speaker 3>beginning when they pull up to the dugout and Paw

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<v Speaker 3>trades the ponies Pet and Patty for Oxen. Laura's so

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<v Speaker 3>sad to see Pet and Patty go. While in real life,

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<v Speaker 3>Pa also traded away Jack. Research suggests it was Rose

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<v Speaker 3>who turned Jack into a reoccurring character. In reality, Jack

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<v Speaker 3>was likely based on a number of dogs Rose and

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<v Speaker 3>Laura both owns during their life. Jack is actually one

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<v Speaker 3>of two composite characters that play significant roles in the

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<v Speaker 3>Little House series and in Laura's life. The other one

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<v Speaker 3>is none other than Laura's iconic arch nemesis, Nellie Olsen.

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<v Speaker 3>Nellie Olsen might have been the original mean Girl, but

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<v Speaker 3>she was not actually a real person. She is a

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<v Speaker 3>combination of three different mean girls. Laura encountered in her youth,

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<v Speaker 3>Nellie Owens, who actually was the daughter of the mercantile

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<v Speaker 3>owner in Walnut Grove, a girl named Stella Gilbert, and

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<v Speaker 3>finally Genevieve Masters, who was the wealthy daughter of Laura's

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<v Speaker 3>school teacher and a member of the Masters family. Remember

0:14:28.360 --> 0:14:33.000
<v Speaker 3>that name. On the Banks of Plum Creek alternates between

0:14:33.080 --> 0:14:35.840
<v Speaker 3>Laura's struggles as the new girl in school and the

0:14:36.000 --> 0:14:40.120
<v Speaker 3>Ingles battle against the natural elements. Halfway through the book,

0:14:40.680 --> 0:14:42.880
<v Speaker 3>just as the Ingles are about to harvest a bumper

0:14:42.960 --> 0:14:46.840
<v Speaker 3>crop that will finally bring them financial security, plagues of

0:14:46.920 --> 0:14:51.840
<v Speaker 3>grasshoppers arrive and destroy everything. Listen to how Laura describes this,

0:14:52.320 --> 0:14:54.800
<v Speaker 3>and then imagine having this happened to you as a child.

0:14:56.600 --> 0:14:59.480
<v Speaker 3>Something hit Laura's head and fell to the ground. She

0:14:59.560 --> 0:15:02.440
<v Speaker 3>looked down and saw the largest grasshoppers She had ever seen.

0:15:03.000 --> 0:15:06.600
<v Speaker 3>They came thutting down like hail. Their body hit the

0:15:06.640 --> 0:15:10.600
<v Speaker 3>sun and made darkness. The rasping whirring of their wings

0:15:10.640 --> 0:15:13.560
<v Speaker 3>filled the whole air, and they hit the ground and

0:15:13.600 --> 0:15:18.360
<v Speaker 3>the house with the noise of a hailstorm. If you

0:15:18.400 --> 0:15:21.760
<v Speaker 3>read this book as a child, those grasshoppers are etched

0:15:21.800 --> 0:15:25.640
<v Speaker 3>into your memory, believe it or not. In real life,

0:15:25.840 --> 0:15:31.400
<v Speaker 3>it might actually have been worse. Enormous grasshoppers really did

0:15:31.440 --> 0:15:35.000
<v Speaker 3>destroy sections of Minnesota between eighteen seventy three and eighteen

0:15:35.080 --> 0:15:38.600
<v Speaker 3>seventy seven. The grasshoppers Laura is writing about other Rocky

0:15:38.640 --> 0:15:42.680
<v Speaker 3>Mountain locusts. They're extinct now, but they measured an inch

0:15:42.760 --> 0:15:43.680
<v Speaker 3>and a half long.

0:15:45.120 --> 0:15:51.920
<v Speaker 9>The one that hit Plum Creek was the single largest

0:15:52.520 --> 0:15:56.400
<v Speaker 9>locust swarm in recorded human history.

0:15:57.160 --> 0:15:59.200
<v Speaker 3>That's environmental historian Chris Wells.

0:16:00.600 --> 0:16:06.200
<v Speaker 9>Was one hundred and ten miles wide, eighteen hundred miles long,

0:16:06.920 --> 0:16:10.880
<v Speaker 9>and between a quarter mile and a half a mile deep.

0:16:11.440 --> 0:16:20.160
<v Speaker 9>That is a area equivalent to Connecticut, Delaware, Maine, Maryland, Massachusetts,

0:16:20.160 --> 0:16:23.760
<v Speaker 9>New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island, and

0:16:24.080 --> 0:16:26.760
<v Speaker 9>Vermont com mine.

0:16:26.840 --> 0:16:31.400
<v Speaker 3>These swarms didn't just happen once. They happened four years

0:16:31.440 --> 0:16:35.480
<v Speaker 3>in a row, and though it definitely sounds biblical, this

0:16:35.680 --> 0:16:38.680
<v Speaker 3>wasn't an act of God. It was partly a man

0:16:38.760 --> 0:16:43.920
<v Speaker 3>made environmental disaster created by homesteaders manipulating the land for farming.

0:16:44.640 --> 0:16:47.280
<v Speaker 9>So it's a combination of people plowing new land and

0:16:47.400 --> 0:16:53.400
<v Speaker 9>growing crops and a drought hitting that created sort of

0:16:53.520 --> 0:16:59.040
<v Speaker 9>ideal circumstances for the Rocky Mountain locusts to thrive. They ate,

0:16:59.520 --> 0:17:04.520
<v Speaker 9>and they ate the leather off of handles. People tried

0:17:04.560 --> 0:17:07.800
<v Speaker 9>to protect their gardens with gunny sacks and stuff. They

0:17:07.880 --> 0:17:10.919
<v Speaker 9>just ate the gunny sacks and everything inside it. I mean,

0:17:10.920 --> 0:17:14.679
<v Speaker 9>you're just talking about having to cover your eyes to

0:17:14.760 --> 0:17:19.280
<v Speaker 9>walk around outside to keep the bugs from flying into them.

0:17:19.760 --> 0:17:24.960
<v Speaker 9>Railroads having to discontinue service for stretches because so many

0:17:25.440 --> 0:17:29.800
<v Speaker 9>grasshoppers got smushed under the wheels that they became too

0:17:29.960 --> 0:17:34.320
<v Speaker 9>slick to operate the trains safely. It's hard to describe

0:17:34.359 --> 0:17:36.439
<v Speaker 9>the magnitude of these things.

0:17:38.600 --> 0:17:42.679
<v Speaker 3>It's not that what Laura describes isn't nightmarish, but somehow

0:17:42.720 --> 0:17:46.879
<v Speaker 3>knowing the facts outside her experience of them, knowing just

0:17:47.040 --> 0:17:51.000
<v Speaker 3>how terrible it all was, underscores Laura's version in a

0:17:51.040 --> 0:17:54.600
<v Speaker 3>way that makes her ability to survive all the more

0:17:54.640 --> 0:17:59.000
<v Speaker 3>moving and impactful, and her ability to write about it

0:17:59.080 --> 0:18:03.680
<v Speaker 3>in the manner she did all the more impressive. Laura

0:18:03.800 --> 0:18:06.919
<v Speaker 3>ends Plum Creek, as she does every book, with a

0:18:06.960 --> 0:18:10.800
<v Speaker 3>note of hope. But the truth was things were about

0:18:10.840 --> 0:18:14.600
<v Speaker 3>to get even worse. Between the end of Plum Creek

0:18:15.000 --> 0:18:17.320
<v Speaker 3>and the opening of the next book, by the Shores

0:18:17.359 --> 0:18:20.479
<v Speaker 3>of Silver Lake are two years of Laura's life that

0:18:20.560 --> 0:18:24.800
<v Speaker 3>go untold. She's ten when we leave her and twelve

0:18:24.840 --> 0:18:27.679
<v Speaker 3>when we find her again. And it's these two missing

0:18:27.760 --> 0:18:31.560
<v Speaker 3>years that first flag to attentive readers something might be

0:18:31.600 --> 0:18:36.320
<v Speaker 3>a miss. The truth is these years were so terrible

0:18:36.880 --> 0:18:39.200
<v Speaker 3>Laura was never able to figure out how to write

0:18:39.200 --> 0:18:42.960
<v Speaker 3>about them for children. But where did the family go

0:18:44.240 --> 0:18:45.320
<v Speaker 3>and what happened to them?

0:18:53.800 --> 0:18:56.480
<v Speaker 4>Emily were in Iowa. You hit a new state that

0:18:56.560 --> 0:18:58.440
<v Speaker 4>sciences Iowa state line.

0:18:58.520 --> 0:19:02.400
<v Speaker 3>Roun Emily, Joe and I have just arrived in Burr Oak, Iowa.

0:19:02.720 --> 0:19:04.640
<v Speaker 4>There's a sign that says museum tour begats at brick

0:19:04.720 --> 0:19:07.400
<v Speaker 4>building across.

0:19:05.440 --> 0:19:12.600
<v Speaker 3>So far this feels like the smallest, most remote place sweement.

0:19:13.000 --> 0:19:16.440
<v Speaker 11>Yeah, it has those same flowers, those same orange browns.

0:19:16.640 --> 0:19:17.959
<v Speaker 3>Oh Yeah, which that's what I mean.

0:19:18.000 --> 0:19:21.200
<v Speaker 4>I wonder if there's too right? Can you guys just

0:19:21.240 --> 0:19:22.439
<v Speaker 4>walk down the middle this street for me?

0:19:22.920 --> 0:19:27.600
<v Speaker 3>Are you wondering? Wait? What is Burroke, Iowa? There's no

0:19:27.680 --> 0:19:30.800
<v Speaker 3>little house anywhere in a place called burr Oak, Iowa.

0:19:32.000 --> 0:19:36.720
<v Speaker 3>You are correct. Burr Oak is an incorporated community located

0:19:36.800 --> 0:19:41.119
<v Speaker 3>three miles across the Minnesota state line. In eighteen seventy six,

0:19:41.680 --> 0:19:44.960
<v Speaker 3>when Laura was nine years old, after two years of

0:19:45.040 --> 0:19:49.879
<v Speaker 3>devastating grasshopper plagues, the Ingles family relocated from Walnut Grove,

0:19:50.600 --> 0:19:53.800
<v Speaker 3>two hundred and twenty four miles east to Burr Oak,

0:19:54.840 --> 0:19:58.360
<v Speaker 3>Hoping to regain some financial stability. The family went there

0:19:58.400 --> 0:19:59.440
<v Speaker 3>to help run a hotel.

0:20:00.359 --> 0:20:03.200
<v Speaker 11>So before we go over to the hotel, just point

0:20:03.200 --> 0:20:05.280
<v Speaker 11>out a few things. The Ingles actually lived here in

0:20:05.320 --> 0:20:09.280
<v Speaker 11>three different places, starting with a hotel that will be touring.

0:20:09.359 --> 0:20:10.200
<v Speaker 11>That's our museum.

0:20:10.280 --> 0:20:12.680
<v Speaker 3>Burr Oak has turned the side of the hotel into

0:20:12.720 --> 0:20:15.520
<v Speaker 3>a Laura Ingles Wilder Museum, and we're on a tour

0:20:15.560 --> 0:20:17.400
<v Speaker 3>of it today with a woman named Barbara.

0:20:17.480 --> 0:20:21.480
<v Speaker 11>That's our museum. And then where our construction is taking

0:20:21.520 --> 0:20:26.359
<v Speaker 11>place in that empty lot, they lived above a store

0:20:26.560 --> 0:20:29.240
<v Speaker 11>Kimball's store. They ranted rooms up there after they moved

0:20:29.240 --> 0:20:30.800
<v Speaker 11>out of the hotel.

0:20:31.160 --> 0:20:35.760
<v Speaker 3>In the books, Laura thrives on isolation. She hates being

0:20:35.800 --> 0:20:41.120
<v Speaker 3>in crowded places. She and Pa love space. But at

0:20:41.119 --> 0:20:44.520
<v Speaker 3>the hotel in burr Oak, the Ingles lived in close quarters,

0:20:45.160 --> 0:20:49.720
<v Speaker 3>which oftentimes exposed them to situations that were unsafe, especially

0:20:49.720 --> 0:20:51.000
<v Speaker 3>for young girls.

0:20:52.200 --> 0:20:54.399
<v Speaker 12>And am i correction thinking they moved out of the

0:20:54.440 --> 0:20:58.600
<v Speaker 12>hotel next door because someone had tried to shoot his wife,

0:20:58.720 --> 0:20:59.280
<v Speaker 12>or the wife.

0:20:59.119 --> 0:21:01.560
<v Speaker 11>Had tried to shoot the husb that had already happened.

0:21:01.600 --> 0:21:04.520
<v Speaker 3>That had already happened. It was not a safe space

0:21:04.600 --> 0:21:07.600
<v Speaker 3>necessarily for it. The rough crowd that frequented the hotel

0:21:07.640 --> 0:21:10.800
<v Speaker 3>they were living and working in frightened both Laura and Mary.

0:21:11.240 --> 0:21:14.600
<v Speaker 3>Even so, the Ingles stuck it out. They desperately needed

0:21:14.600 --> 0:21:16.400
<v Speaker 3>the money they hoped bur Oak would bring them.

0:21:16.560 --> 0:21:20.080
<v Speaker 11>They were very overworked and underpaid, and after three months

0:21:20.160 --> 0:21:22.640
<v Speaker 11>actually they had been paid it all after three months

0:21:22.640 --> 0:21:26.440
<v Speaker 11>of their work. Caroline in a restaurant downstairs in the hotel,

0:21:26.920 --> 0:21:29.600
<v Speaker 11>and then Charles for all of his work, so they

0:21:29.680 --> 0:21:31.560
<v Speaker 11>knew they were being taken advantage of.

0:21:32.320 --> 0:21:34.560
<v Speaker 3>The entire family was put to work in the hotel

0:21:35.080 --> 0:21:38.000
<v Speaker 3>including Laura, who was just nine years old.

0:21:38.640 --> 0:21:42.040
<v Speaker 11>Laura wasn't specific about other than what her chores were

0:21:42.080 --> 0:21:45.200
<v Speaker 11>and Mary's chores were, and Caroline was running the restaurant,

0:21:45.240 --> 0:21:48.760
<v Speaker 11>and it's downstairs. We believe their living space was downstairs.

0:21:49.040 --> 0:21:53.200
<v Speaker 11>Mary and Laura washing dishes for the restaurant, setting tables,

0:21:53.240 --> 0:21:55.120
<v Speaker 11>sweeping floors, making beds.

0:21:55.720 --> 0:21:57.960
<v Speaker 3>We get no sense of this in the books, which

0:21:58.000 --> 0:22:01.159
<v Speaker 3>focused almost exclusively on the word Laura does at home

0:22:01.200 --> 0:22:04.520
<v Speaker 3>to help the family, but in actual fact, in addition

0:22:04.560 --> 0:22:07.720
<v Speaker 3>to all these chores, Laura was also employed at the

0:22:07.760 --> 0:22:11.760
<v Speaker 3>hotel as a companion for younger children and aging residents.

0:22:12.400 --> 0:22:15.840
<v Speaker 11>The Stedmans that owned this hotel and the Ingles had

0:22:15.840 --> 0:22:19.120
<v Speaker 11>come here with them to work together, had a baby

0:22:19.840 --> 0:22:23.840
<v Speaker 11>that they were supposed to babysit right thank you with

0:22:23.920 --> 0:22:27.439
<v Speaker 11>the promise of payment by Christmas time, and Missus Stebman

0:22:27.520 --> 0:22:28.840
<v Speaker 11>never paid them.

0:22:29.560 --> 0:22:33.040
<v Speaker 3>Working hard and not getting paid was a reoccurring issue

0:22:33.040 --> 0:22:35.240
<v Speaker 3>for the Ingles in Burr Oak, and it made their

0:22:35.280 --> 0:22:40.960
<v Speaker 3>tenuous financial situation even worse. Laura, however, despite her young age,

0:22:41.359 --> 0:22:45.760
<v Speaker 3>soon established a reputation as a reliable caretaker. She was

0:22:45.840 --> 0:22:48.359
<v Speaker 3>so good at this work that one family asked if

0:22:48.400 --> 0:22:53.440
<v Speaker 3>they could keep her. Literally, this is doctor Starr.

0:22:54.960 --> 0:22:57.879
<v Speaker 11>I think I believe Laura was talking about the doctor

0:22:57.920 --> 0:23:01.200
<v Speaker 11>in another context in Pioneer Girl, but she does mention

0:23:01.359 --> 0:23:04.320
<v Speaker 11>Missus Starr, who had gone to Ma and asked if

0:23:04.320 --> 0:23:08.200
<v Speaker 11>they could adopt Laura as their own daughter. She wanted

0:23:08.240 --> 0:23:11.760
<v Speaker 11>to help her and had her heart set on Laura.

0:23:12.000 --> 0:23:15.880
<v Speaker 3>I I'm terrified that was even over here, right, even

0:23:15.960 --> 0:23:17.640
<v Speaker 3>understand that that was a possibility.

0:23:19.080 --> 0:23:22.440
<v Speaker 4>The Stars offered Laura pretty close music, lessons and education,

0:23:23.040 --> 0:23:25.520
<v Speaker 4>who wanted to leave Laura share the property when they died,

0:23:25.720 --> 0:23:27.960
<v Speaker 4>just as they would their own girls.

0:23:29.119 --> 0:23:31.920
<v Speaker 11>I love the way Laura talked about it. Ma thank

0:23:32.040 --> 0:23:34.640
<v Speaker 11>Missus Star, but said that she and Pap couldn't possibly

0:23:34.680 --> 0:23:35.159
<v Speaker 11>spare me.

0:23:37.119 --> 0:23:40.880
<v Speaker 3>It is impossible to imagine Pa or Ma ever being

0:23:40.960 --> 0:23:44.240
<v Speaker 3>willing to give up any of their children. One thing

0:23:44.280 --> 0:23:47.880
<v Speaker 3>we do know without question is that Laura was adored,

0:23:49.000 --> 0:23:52.760
<v Speaker 3>but no doubt their quest may have seemed doubly nightmarish

0:23:53.200 --> 0:23:56.040
<v Speaker 3>when you know that the Ingles had only recently lost

0:23:56.080 --> 0:24:00.520
<v Speaker 3>a child on their way to burr Oak. Charles and

0:24:00.560 --> 0:24:04.919
<v Speaker 3>Caroline's only son, Charles Frederick Ingles Junior, known to the

0:24:04.920 --> 0:24:08.000
<v Speaker 3>family as Freddie, was born in Walnut Grove in eighteen

0:24:08.080 --> 0:24:11.920
<v Speaker 3>seventy five and died ten months later en route to

0:24:11.960 --> 0:24:17.400
<v Speaker 3>Burr Oak. He's buried somewhere near South Troy, Minnesota, although

0:24:17.480 --> 0:24:21.840
<v Speaker 3>no one knows exactly where. No mention of Freddy is

0:24:21.880 --> 0:24:25.280
<v Speaker 3>made in the Little House Books. It seems Laura couldn't

0:24:25.320 --> 0:24:29.760
<v Speaker 3>bear to relive it. Even in her adult memoir Pioneer Girl,

0:24:30.160 --> 0:24:37.040
<v Speaker 3>she only manages a few lines. Laura writes, little brother

0:24:37.160 --> 0:24:40.800
<v Speaker 3>got worse instead of better, and one awful day he

0:24:40.920 --> 0:24:48.760
<v Speaker 3>straightened out his little body and was dead. Six months

0:24:48.760 --> 0:24:53.280
<v Speaker 3>after Little Freddie's death, Grace is born, and somehow her

0:24:53.359 --> 0:24:58.280
<v Speaker 3>name makes more sense knowing about this loss. After nearly

0:24:58.320 --> 0:25:00.919
<v Speaker 3>a year in Burr Oak, on able to dig themselves

0:25:00.960 --> 0:25:03.960
<v Speaker 3>out of the financial hole they were in, Pod decided

0:25:04.000 --> 0:25:08.200
<v Speaker 3>to relocate the family back to Walnut Grove, and then

0:25:08.240 --> 0:25:14.680
<v Speaker 3>everything got worse, much worse. Not long after they returned,

0:25:15.720 --> 0:25:17.200
<v Speaker 3>Mary went blind.

0:25:17.960 --> 0:25:21.200
<v Speaker 11>Mary lost her eyesight two years after they left Burr Oak.

0:25:21.359 --> 0:25:24.760
<v Speaker 3>So Mary's blindness is a source of much discussion and

0:25:24.840 --> 0:25:28.679
<v Speaker 3>actually some academic study. In the books, Laura attributes it

0:25:28.720 --> 0:25:32.760
<v Speaker 3>to scarlet fever. She briefly describes Mary's illness as happening

0:25:32.800 --> 0:25:36.600
<v Speaker 3>slowly until one day, Mary wakes up and can't see.

0:25:37.359 --> 0:25:41.080
<v Speaker 3>But based on descriptions in Laura's memoir Pioneer Girl and

0:25:41.119 --> 0:25:44.160
<v Speaker 3>a better modern day understanding of what scarlet fever actually is,

0:25:44.960 --> 0:25:49.159
<v Speaker 3>it seems more likely Mary had contracted spinal meningitis and

0:25:49.160 --> 0:25:52.919
<v Speaker 3>that this is what led to the blindness. Taken altogether,

0:25:53.720 --> 0:25:57.480
<v Speaker 3>the childhood labor, the loss of an infant brother, the

0:25:57.600 --> 0:26:00.920
<v Speaker 3>violence they were surrounded by in Burr Oak, and finally,

0:26:01.560 --> 0:26:06.879
<v Speaker 3>and perhaps most devastatingly, Mary's blindness. The two years between

0:26:06.920 --> 0:26:10.560
<v Speaker 3>Plum Creek and Silver Lake proved too much for Laura

0:26:10.600 --> 0:26:15.400
<v Speaker 3>to face in her writing. Instead, with Rose's help, they

0:26:15.440 --> 0:26:18.359
<v Speaker 3>cram a few scant details into the first pages of

0:26:18.359 --> 0:26:22.240
<v Speaker 3>By the Shores of Silver Lake. Here's what the reader

0:26:22.320 --> 0:26:26.840
<v Speaker 3>is told Laura's twelve. Now the Ingles are in Walnut

0:26:26.920 --> 0:26:29.840
<v Speaker 3>Grove where we left them. No mention is made of

0:26:29.880 --> 0:26:35.000
<v Speaker 3>Burr Oak or Freddy. The house is in shambles, Mary

0:26:35.080 --> 0:26:40.560
<v Speaker 3>is blind, and then Jack the dog dies amazingly after

0:26:40.600 --> 0:26:43.639
<v Speaker 3>this dark opening, By the Shores of Silver Lake is

0:26:43.680 --> 0:26:47.240
<v Speaker 3>perhaps the most consistently hopeful of all the Little House books.

0:26:48.240 --> 0:26:52.119
<v Speaker 3>Laura is an adolescent. Now she has a bit more agency.

0:26:52.280 --> 0:26:57.280
<v Speaker 3>The Ingles go west, their finances stabilize. The wildness and

0:26:57.359 --> 0:27:00.000
<v Speaker 3>openness of the prairie is so present in these pages

0:27:00.240 --> 0:27:04.119
<v Speaker 3>just it's practically its own character, and in terms of

0:27:04.119 --> 0:27:07.760
<v Speaker 3>what's real, it's comforting to know that the more magical

0:27:07.800 --> 0:27:10.600
<v Speaker 3>scenes in this book, like Laura and her cousin Lena

0:27:10.680 --> 0:27:15.119
<v Speaker 3>riding ponies and Laura and Carrie encountering an enormous mythic wolf,

0:27:15.880 --> 0:27:20.720
<v Speaker 3>actually did happen. And yet Waiting there on the Horizon

0:27:21.520 --> 0:27:26.399
<v Speaker 3>is the darkest, hardest book in the series, The Long Winter.

0:27:32.440 --> 0:27:36.080
<v Speaker 3>The Long Winter is about the real life historic winter

0:27:36.280 --> 0:27:39.720
<v Speaker 3>of eighteen eighty one, in which the entire town of

0:27:39.800 --> 0:27:44.240
<v Speaker 3>Desmet almost starved. Laura would have nightmares about it for

0:27:44.280 --> 0:27:47.680
<v Speaker 3>the rest of her life. It's a dark and difficult

0:27:47.720 --> 0:27:51.239
<v Speaker 3>book that recounts the Ingles attempt to survive on their

0:27:51.280 --> 0:27:54.400
<v Speaker 3>own in a house in town. It's been each day

0:27:54.480 --> 0:27:58.680
<v Speaker 3>fending off starvation and trying not to freeze to death

0:28:00.320 --> 0:28:04.600
<v Speaker 3>once again, like the Grasshoppers. The real life version is

0:28:04.760 --> 0:28:11.240
<v Speaker 3>even worse. Remember the Master's family, Nellie Olsen, was partially

0:28:11.320 --> 0:28:15.120
<v Speaker 3>based on Jenny Masters, the daughter of Laura's wealthy Walnut

0:28:15.119 --> 0:28:20.040
<v Speaker 3>Grove school teacher. While they're back during The Long winter,

0:28:20.560 --> 0:28:24.800
<v Speaker 3>Jenny Master's older brother, George and his wife and their

0:28:24.880 --> 0:28:29.119
<v Speaker 3>new baby boarded with the Ingles family. They ate the

0:28:29.280 --> 0:28:33.000
<v Speaker 3>Ingles food, and they took the warmest place by the fire,

0:28:33.920 --> 0:28:37.440
<v Speaker 3>but they contributed nothing to the house. They didn't even

0:28:37.480 --> 0:28:39.560
<v Speaker 3>twist hay with Laura and pass so they could make

0:28:39.600 --> 0:28:44.400
<v Speaker 3>a fire. Knowing this and then reading the book again

0:28:45.200 --> 0:28:47.800
<v Speaker 3>can make Laura's version of that winter almost feel like

0:28:47.960 --> 0:28:52.160
<v Speaker 3>fan fiction of her own life. She probably went to

0:28:52.200 --> 0:28:56.600
<v Speaker 3>bed every night dreaming those people weren't there, or you know,

0:28:57.160 --> 0:29:04.600
<v Speaker 3>fantasizing about murdering them, which is understandable. In the Baroq Museum,

0:29:05.240 --> 0:29:08.040
<v Speaker 3>Barbara showed us something Laura actually wrote during that winter,

0:29:08.720 --> 0:29:11.680
<v Speaker 3>and the tone is much more resentful than she ever

0:29:11.760 --> 0:29:12.600
<v Speaker 3>lets on in the book.

0:29:13.560 --> 0:29:15.560
<v Speaker 11>Well, we found a copy of a poem that Laura

0:29:15.600 --> 0:29:18.280
<v Speaker 11>wrote about that about that winter.

0:29:18.960 --> 0:29:21.960
<v Speaker 2>All right, okay, this is the poem. We remember not

0:29:22.080 --> 0:29:24.760
<v Speaker 2>the summer, for it was long ago. We remember not

0:29:24.840 --> 0:29:28.320
<v Speaker 2>the summer. In this whirling, blinding snow, I will leave

0:29:28.360 --> 0:29:31.880
<v Speaker 2>this frozen region. I will travel farther south. If you

0:29:31.960 --> 0:29:34.040
<v Speaker 2>say one word against it, I will hit you in

0:29:34.040 --> 0:29:40.320
<v Speaker 2>the mouth. Wow, Laura, Laura, that is her long, hard winter.

0:29:40.480 --> 0:29:40.880
<v Speaker 7>How long.

0:29:42.960 --> 0:29:46.280
<v Speaker 3>Laura's unwillingness to punish the masters with her pen decades

0:29:46.360 --> 0:29:49.400
<v Speaker 3>later speaks to something in her that we keep coming

0:29:49.480 --> 0:29:54.200
<v Speaker 3>back to. Instead of crucifying the masters, she mercifully removes

0:29:54.240 --> 0:29:58.840
<v Speaker 3>them entirely. Instead of starvation, we get Ma's nutty baked

0:29:58.840 --> 0:30:03.960
<v Speaker 3>bread of Darkness. An entire chapters devoted to the anticipation

0:30:04.080 --> 0:30:06.880
<v Speaker 3>of Ma creating a candle out of kerosene and a button.

0:30:07.920 --> 0:30:10.760
<v Speaker 3>She tried her hardest to balance out the worst with

0:30:10.880 --> 0:30:15.840
<v Speaker 3>the very best. This, it seems, might have been a

0:30:15.840 --> 0:30:20.560
<v Speaker 3>family trait. In the Borough Museum is a photograph of

0:30:20.600 --> 0:30:23.840
<v Speaker 3>the registrar's book from the blind school in Vinton, Iowa

0:30:23.920 --> 0:30:24.880
<v Speaker 3>that Mary attended.

0:30:26.280 --> 0:30:28.800
<v Speaker 11>When we were there, when the school was still open,

0:30:28.840 --> 0:30:31.720
<v Speaker 11>they let us take a photograph of their registrar's book.

0:30:32.640 --> 0:30:38.240
<v Speaker 11>So under here there's a line underneath Mary's name because

0:30:38.280 --> 0:30:44.920
<v Speaker 11>of blindness was brain fever her parents' information. This was interesting.

0:30:45.000 --> 0:30:48.960
<v Speaker 11>He was a farmer of moderate income, and the only

0:30:49.000 --> 0:30:53.440
<v Speaker 11>other moderate was a lawyer, and everyone else was poor, poor.

0:30:54.680 --> 0:30:55.200
<v Speaker 4>Interesting.

0:30:56.480 --> 0:30:58.520
<v Speaker 11>We asked at the school if they knew why he

0:30:58.600 --> 0:31:02.959
<v Speaker 11>was listed as moderate, whether that was Charles's decision or

0:31:03.000 --> 0:31:07.280
<v Speaker 11>the schools, and of course they wouldn't know, but it

0:31:07.320 --> 0:31:11.120
<v Speaker 11>could go either way. They spent money for three train

0:31:11.200 --> 0:31:15.040
<v Speaker 11>tickets to Vin from the Dakota Territory and two train

0:31:15.120 --> 0:31:18.120
<v Speaker 11>tickets back home again, and that's not how most students

0:31:19.160 --> 0:31:22.640
<v Speaker 11>travel to another place with their parents.

0:31:23.200 --> 0:31:25.280
<v Speaker 3>We know from the books that the Ingles worked hard

0:31:25.320 --> 0:31:27.920
<v Speaker 3>to send Mary to the School for the Blind. Laura

0:31:27.960 --> 0:31:30.840
<v Speaker 3>frames her work as a school teacher, which she didn't enjoy,

0:31:31.280 --> 0:31:35.080
<v Speaker 3>as necessary to funding Mary's education. There's an entire chapter

0:31:35.160 --> 0:31:37.960
<v Speaker 3>in Little Town on the Prairie devoted to the family

0:31:38.000 --> 0:31:42.800
<v Speaker 3>making everything Mary will need for college, dresses, hats, sheets,

0:31:43.200 --> 0:31:46.400
<v Speaker 3>Pop buys Mary a new trunk, but we're never made

0:31:46.400 --> 0:31:49.400
<v Speaker 3>to understand any of this might be out of the ordinary.

0:31:50.000 --> 0:31:54.000
<v Speaker 11>And Mary also came with a new trunk full of

0:31:54.040 --> 0:31:56.640
<v Speaker 11>clothes that they had just made for her that mon

0:31:56.880 --> 0:31:59.440
<v Speaker 11>the girls had made for her. A lot of the

0:31:59.520 --> 0:32:01.960
<v Speaker 11>children with the clothes on their back. So whether that

0:32:02.080 --> 0:32:06.280
<v Speaker 11>made a difference, or whether Charles just wanted to, you know,

0:32:06.440 --> 0:32:09.040
<v Speaker 11>inflate his position just a little bit and say that

0:32:09.120 --> 0:32:12.800
<v Speaker 11>he was umoderate income. They don't know whose decision it was,

0:32:12.840 --> 0:32:14.840
<v Speaker 11>but it was it's an interesting comment.

0:32:16.240 --> 0:32:20.320
<v Speaker 3>Whatever the horror they had been through, whatever sacrifices had

0:32:20.320 --> 0:32:24.880
<v Speaker 3>been made. The Ingles, long before Laura took pen to paper,

0:32:25.640 --> 0:32:27.920
<v Speaker 3>wanted the world to believe they were greater than the

0:32:27.920 --> 0:32:32.560
<v Speaker 3>sum of their parts. For Laura the writer, this meant

0:32:32.600 --> 0:32:36.760
<v Speaker 3>offsetting the terrible events with an unconditional love of family.

0:32:38.080 --> 0:32:41.680
<v Speaker 3>All the cozy descriptions are simply a way to reinforce

0:32:41.760 --> 0:32:44.840
<v Speaker 3>the sense of safety and magic. She felt at home,

0:32:46.200 --> 0:32:50.520
<v Speaker 3>and no one made her feel safer than Maw and Paw.

0:32:58.240 --> 0:33:00.000
<v Speaker 3>When I was little, I used to tell my mother

0:33:00.240 --> 0:33:04.400
<v Speaker 3>I wish I lived in the olden days. Everything about

0:33:04.440 --> 0:33:09.800
<v Speaker 3>them seemed magical. Horses and buggies, puff sleeves, braided hair,

0:33:10.000 --> 0:33:15.800
<v Speaker 3>sugaring fiddles, wolves, adventure. This was the life for me.

0:33:18.520 --> 0:33:22.160
<v Speaker 3>My grandmother, who was the eldest of ten and grew

0:33:22.240 --> 0:33:26.720
<v Speaker 3>up without indoor plumbing, scoffed harshly at my fantasies. She

0:33:26.880 --> 0:33:30.160
<v Speaker 3>had lived it. She was not interested in reliving it

0:33:30.600 --> 0:33:33.920
<v Speaker 3>at all. But the first time it really occurred to me,

0:33:34.640 --> 0:33:38.760
<v Speaker 3>like deep down, oh crap, Perhaps life on the prairie

0:33:38.880 --> 0:33:41.479
<v Speaker 3>is not the magical experience I had come to believe

0:33:42.160 --> 0:33:44.440
<v Speaker 3>was when Joe and Emily and I visited Plum Creek

0:33:44.560 --> 0:33:48.000
<v Speaker 3>outside Walnut grove this past summer on a very hot

0:33:48.080 --> 0:33:52.360
<v Speaker 3>July day, bound just pulling up here in a covered wagon,

0:33:53.400 --> 0:33:56.440
<v Speaker 3>traveling across the prairie for I don't know, a month.

0:33:56.360 --> 0:33:58.840
<v Speaker 4>With your husband and you think that you're getting a house.

0:34:00.160 --> 0:34:02.760
<v Speaker 3>We followed signs down through some trees and across a

0:34:02.800 --> 0:34:07.720
<v Speaker 3>bridge and on the banks of Plumb Creek. Laura describes

0:34:07.760 --> 0:34:12.200
<v Speaker 3>the rippling and glistening creek, the yellow flowers, nodding it

0:34:12.360 --> 0:34:17.920
<v Speaker 3>is beautiful for like one night of camping, maybe if

0:34:18.360 --> 0:34:21.600
<v Speaker 3>you're a person who likes to camp. The Doughead is

0:34:21.600 --> 0:34:24.560
<v Speaker 3>no longer there these days. It's just a depression in

0:34:24.600 --> 0:34:26.880
<v Speaker 3>the side of a hill that you'd likely miss if

0:34:26.920 --> 0:34:30.040
<v Speaker 3>it wasn't for the plaque that marks the spot. We

0:34:30.120 --> 0:34:33.440
<v Speaker 3>stand and stare at it for a bit, contemplating living

0:34:33.440 --> 0:34:35.960
<v Speaker 3>here a family of five.

0:34:39.360 --> 0:34:47.800
<v Speaker 12>Oh ma, I find the older I get, the more

0:34:47.880 --> 0:34:50.400
<v Speaker 12>extraordinary sympathy I have for Caroline.

0:34:50.080 --> 0:34:55.600
<v Speaker 13>Ingalls or like my god, I think reading these books

0:34:55.600 --> 0:34:58.359
<v Speaker 13>as are grown up, I see them from Caroline's point

0:34:58.400 --> 0:35:01.759
<v Speaker 13>of view more than the and just being a woman

0:35:02.800 --> 0:35:05.040
<v Speaker 13>and a mother of three young girls.

0:35:05.280 --> 0:35:10.520
<v Speaker 4>And my husband saying, oh, you're gonna live in a

0:35:10.560 --> 0:35:15.440
<v Speaker 4>dirt hole on the side of a creek. Yeah, and

0:35:15.520 --> 0:35:17.120
<v Speaker 4>you're saying okay.

0:35:18.920 --> 0:35:22.920
<v Speaker 2>Not just okay, you saying, look how beautiful this is

0:35:22.960 --> 0:35:26.360
<v Speaker 2>as girls, Look how clean it is. Aren't we lucky?

0:35:27.600 --> 0:35:31.319
<v Speaker 3>We'll make the best of it. That relentless optimism is extraordinary,

0:35:33.480 --> 0:35:35.359
<v Speaker 3>and I don't think you can fake that. I don't

0:35:35.360 --> 0:35:37.600
<v Speaker 3>think Laura couldn't have been a person. I would argue

0:35:38.000 --> 0:35:40.160
<v Speaker 3>one of the markers of great art is that you

0:35:40.239 --> 0:35:43.640
<v Speaker 3>get something new out of it every time. This time,

0:35:43.960 --> 0:35:47.439
<v Speaker 3>what I got out of Little House is Ma. Joe

0:35:47.480 --> 0:35:50.800
<v Speaker 3>and I talked about the fantasy of Little House versus

0:35:50.880 --> 0:35:54.239
<v Speaker 3>the reality of Ma's life, which was now staring us

0:35:54.239 --> 0:35:58.760
<v Speaker 3>straight in the face. I mean, when I was a kid,

0:35:59.080 --> 0:36:05.600
<v Speaker 3>that dugout seemed magical and not for nothing. But when

0:36:05.640 --> 0:36:07.759
<v Speaker 3>you look at the cover of on the banks of

0:36:07.800 --> 0:36:13.040
<v Speaker 3>Plum Creek, it's like Laura skipping barefoot across the grass

0:36:13.040 --> 0:36:16.240
<v Speaker 3>with her hair flowing free, and Jack is this friendly,

0:36:16.280 --> 0:36:21.920
<v Speaker 3>cute dog, and below her in the dugout is Ma ironing.

0:36:21.719 --> 0:36:26.840
<v Speaker 8>Which as a kid, I was like, I'm gonna deliver

0:36:26.960 --> 0:36:33.200
<v Speaker 8>you a big nope here, because I don't think there

0:36:33.600 --> 0:36:35.680
<v Speaker 8>was anything magical for them.

0:36:36.120 --> 0:36:38.879
<v Speaker 4>I've seen that hole and for me as a mother

0:36:38.920 --> 0:36:42.040
<v Speaker 4>of three children. It seems like a total goddamn nightmare.

0:36:42.520 --> 0:36:44.759
<v Speaker 4>Ma had it so hard.

0:36:45.560 --> 0:36:46.919
<v Speaker 3>MA had it so hard.

0:36:47.520 --> 0:36:48.600
<v Speaker 4>Ma's life was terrible.

0:36:49.239 --> 0:36:54.320
<v Speaker 3>She's living in a hole in a hole in the ground.

0:36:55.120 --> 0:36:57.360
<v Speaker 3>But it makes the cover of on the banks of

0:36:57.400 --> 0:37:01.200
<v Speaker 3>Plum Creek sort of reminds me. And I don't know

0:37:01.200 --> 0:37:02.759
<v Speaker 3>if this is sure anymore, but remember when we were

0:37:02.760 --> 0:37:05.279
<v Speaker 3>growing up, all the tampon commercials were just of like

0:37:05.719 --> 0:37:08.560
<v Speaker 3>blonde girls running freely across grass, and then it was

0:37:08.600 --> 0:37:09.719
<v Speaker 3>like yay tampacs.

0:37:10.160 --> 0:37:12.839
<v Speaker 4>Yes, yes, only blonde girls, but.

0:37:12.800 --> 0:37:15.880
<v Speaker 3>With like long white blonde girls with long flowing hair

0:37:16.239 --> 0:37:21.319
<v Speaker 3>who were just running across grass. And there's something about

0:37:21.760 --> 0:37:25.279
<v Speaker 3>the fantasy of this dugout that seems, as a grown

0:37:25.360 --> 0:37:29.640
<v Speaker 3>up so deeply disconnected from reality that it reminds me

0:37:29.680 --> 0:37:31.279
<v Speaker 3>of those commercials, Like.

0:37:32.160 --> 0:37:35.760
<v Speaker 4>Nothing magical about bleeding through your pants.

0:37:36.000 --> 0:37:39.520
<v Speaker 3>There's nothing, there's literally nothing magical about it. Of course,

0:37:39.560 --> 0:37:42.560
<v Speaker 3>we know there's no bathroom, but there's no bathroom, there's

0:37:42.680 --> 0:37:46.959
<v Speaker 3>no toilet, Like what does she do when she gets

0:37:46.960 --> 0:37:49.520
<v Speaker 3>her period? Like, I mean, I know there are some

0:37:49.640 --> 0:37:51.680
<v Speaker 3>answers to this, but they're living in a dugout. So

0:37:51.719 --> 0:37:54.520
<v Speaker 3>it's like Ma is so patient in the books, and

0:37:54.600 --> 0:37:57.200
<v Speaker 3>even when she's a little bit cranky, I'm like, oh

0:37:57.200 --> 0:38:01.080
<v Speaker 3>my god, I can't believe every woman did not just

0:38:01.320 --> 0:38:08.240
<v Speaker 3>commit mass murder. Truly, like constantly later books, when Laura

0:38:08.280 --> 0:38:10.480
<v Speaker 3>goes to teach and she's with that couple and the

0:38:10.520 --> 0:38:13.120
<v Speaker 3>wife is like losing her mind and tries to stab

0:38:13.160 --> 0:38:15.720
<v Speaker 3>her husband. As a kid, I was like, that woman's horrible.

0:38:15.760 --> 0:38:18.120
<v Speaker 3>As a grown up, I'm like, I would have stabbed everyone.

0:38:18.600 --> 0:38:21.120
<v Speaker 4>Everyone's off stabbed everyone.

0:38:21.000 --> 0:38:23.879
<v Speaker 3>Yah, and she lived in a house. It really makes

0:38:23.920 --> 0:38:26.560
<v Speaker 3>you understand or like really think about the fact that

0:38:27.120 --> 0:38:31.040
<v Speaker 3>in the books, Laura never talks about bodily functions. There's

0:38:31.040 --> 0:38:34.080
<v Speaker 3>not a single outhouse in the books. No one smells,

0:38:34.120 --> 0:38:37.080
<v Speaker 3>there's no deodorant. They never talk about brushing their teeth.

0:38:37.239 --> 0:38:39.759
<v Speaker 3>They scrub their faces and brush their hair. And you know,

0:38:39.880 --> 0:38:42.640
<v Speaker 3>like Ma did iron. She was so determined to keep

0:38:42.680 --> 0:38:43.640
<v Speaker 3>things like clean.

0:38:44.080 --> 0:38:45.919
<v Speaker 4>I don't iron now, and I live in a four

0:38:45.920 --> 0:38:49.160
<v Speaker 4>bedroom house. How did she iron? They didn't have electricity.

0:38:49.520 --> 0:38:53.160
<v Speaker 3>They had some sort of the metal thing that they

0:38:53.160 --> 0:38:55.520
<v Speaker 3>would heat by the fire and they would sprinkle water

0:38:55.600 --> 0:38:57.239
<v Speaker 3>on the clothes and then they would iron it.

0:38:57.360 --> 0:38:59.160
<v Speaker 4>Nick just sent me a text because he was listening

0:38:59.160 --> 0:39:01.680
<v Speaker 4>to us that said you heat irons on the fire,

0:39:02.080 --> 0:39:08.239
<v Speaker 4>literal irons, and he's like, he's really stunty about it.

0:39:08.239 --> 0:39:12.040
<v Speaker 4>He's like literal irons. That is where the name came from.

0:39:12.360 --> 0:39:16.520
<v Speaker 3>Clearly, neither Joe nor I are surviving the apocalypse, let

0:39:16.600 --> 0:39:20.000
<v Speaker 3>alone providing our family with freshly ironed clothes while living

0:39:20.000 --> 0:39:23.399
<v Speaker 3>in a dugout on the side of a creek. Being

0:39:23.400 --> 0:39:26.920
<v Speaker 3>confronted with the reality of Laura's living conditions confirms a

0:39:26.960 --> 0:39:29.560
<v Speaker 3>lot of what's between the lines and the books. This

0:39:29.680 --> 0:39:32.480
<v Speaker 3>reality is a lot clearer when you return to the

0:39:32.480 --> 0:39:35.280
<v Speaker 3>books as a grown up. Here's Pamela Smith Hilligan.

0:39:36.440 --> 0:39:38.440
<v Speaker 7>One of the things that I think is really brilliant

0:39:38.560 --> 0:39:43.120
<v Speaker 7>about the Little House series is that you can read

0:39:43.120 --> 0:39:45.600
<v Speaker 7>those books on two different levels. So when you're a

0:39:45.719 --> 0:39:48.160
<v Speaker 7>child and you read on the banks of Plump Creek,

0:39:48.719 --> 0:39:53.080
<v Speaker 7>the dugout seems fabulous, It's like the most magical place

0:39:53.120 --> 0:39:56.320
<v Speaker 7>in the world. But when you go back as an adult,

0:39:56.719 --> 0:39:59.880
<v Speaker 7>there are cues within the text if you read it

0:40:00.040 --> 0:40:03.960
<v Speaker 7>pretty closely. Because the first thing Caroline Ingles says to

0:40:04.880 --> 0:40:11.000
<v Speaker 7>Paul is, oh, Charles, a dugout. We've never lived in

0:40:11.040 --> 0:40:14.880
<v Speaker 7>a dugout before you can just since the letdown in

0:40:14.880 --> 0:40:19.440
<v Speaker 7>her voice and the feeling of disappointment and what this

0:40:19.640 --> 0:40:20.719
<v Speaker 7>means to the family.

0:40:21.520 --> 0:40:24.080
<v Speaker 3>The dugout is one of the signs that the Ingles

0:40:24.080 --> 0:40:28.399
<v Speaker 3>are living in extremely severe poverty. Here's Chris Wells again.

0:40:29.120 --> 0:40:32.360
<v Speaker 9>You know what's good for people is also good for

0:40:32.440 --> 0:40:39.360
<v Speaker 9>bugs and other less than pleasant, sometimes less than healthy

0:40:39.840 --> 0:40:42.319
<v Speaker 9>things to be living with. I mean, there were good

0:40:42.400 --> 0:40:47.560
<v Speaker 9>arguments against sod huts aside from just status. That status

0:40:47.680 --> 0:40:51.160
<v Speaker 9>was part of it, right, Being dirt poor and living

0:40:51.160 --> 0:40:53.920
<v Speaker 9>in a dirt house kind of went together.

0:40:55.800 --> 0:40:59.360
<v Speaker 3>That said, It's not like homesteaders had a lot of choices.

0:41:00.080 --> 0:41:02.640
<v Speaker 3>On the Ingle's homestead site and just met South Dakota,

0:41:03.080 --> 0:41:05.279
<v Speaker 3>there are replicas of the kind of houses you would

0:41:05.280 --> 0:41:08.360
<v Speaker 3>have encountered on the prairies in the eighteen eighties. Visitors

0:41:08.360 --> 0:41:10.839
<v Speaker 3>get to walk around and think about which they would

0:41:10.840 --> 0:41:13.759
<v Speaker 3>have preferred to live in. Emily and I did just that.

0:41:14.320 --> 0:41:17.239
<v Speaker 3>We took a house tour, I guess you could call it.

0:41:17.600 --> 0:41:20.280
<v Speaker 3>There was a sod house, which is similar to a dugout,

0:41:20.480 --> 0:41:23.040
<v Speaker 3>and a claim shanty, which is more like a basic

0:41:23.040 --> 0:41:30.000
<v Speaker 3>wooden structure, often with just one room.

0:41:30.200 --> 0:41:31.080
<v Speaker 4>This is a shanty.

0:41:31.520 --> 0:41:34.600
<v Speaker 7>Yeah, oh my god, it's so small.

0:41:36.320 --> 0:41:41.160
<v Speaker 4>Oh hi, it is so small.

0:41:42.719 --> 0:41:43.279
<v Speaker 3>Look at the.

0:41:44.800 --> 0:41:46.480
<v Speaker 4>What did they all sleep in here?

0:41:47.840 --> 0:41:51.840
<v Speaker 14>Good god, wow, Shandy, no wonder Missus Brewster was losing

0:41:51.840 --> 0:41:56.080
<v Speaker 14>her mind. Ooh really okay, this is an eighteen seventy

0:41:56.080 --> 0:41:59.360
<v Speaker 14>eight clam shanty which is insulated with a newspaper.

0:42:00.040 --> 0:42:02.000
<v Speaker 3>Well, at least hopefully they can all read a let.

0:42:02.120 --> 0:42:06.840
<v Speaker 11>Me no as you're falling asleep. This is the real one.

0:42:06.800 --> 0:42:13.680
<v Speaker 12>Is nine feet by fifteen feet at the end.

0:42:13.760 --> 0:42:17.440
<v Speaker 3>Like the ceilings are sick at the peak. They're probably

0:42:17.520 --> 0:42:18.960
<v Speaker 3>nine feet high, but maybe ten.

0:42:19.400 --> 0:42:22.080
<v Speaker 14>There is a loft for storage, but you cannot fit anyone.

0:42:22.239 --> 0:42:24.480
<v Speaker 3>Well, there's a lot for storage, where would you go?

0:42:24.520 --> 0:42:26.719
<v Speaker 3>I mean, there's a stove in the It's not like the.

0:42:26.680 --> 0:42:28.759
<v Speaker 2>TV show where Laura and Mary live in the law.

0:42:29.000 --> 0:42:31.160
<v Speaker 3>It's like a large tent. If this just turned into

0:42:31.160 --> 0:42:32.920
<v Speaker 3>a tent, it would be called glamping with a few

0:42:32.920 --> 0:42:37.640
<v Speaker 3>more resources. The Angles lived in both dugouts and chanties.

0:42:38.440 --> 0:42:41.040
<v Speaker 3>And now that I'm in my late forties, older than

0:42:41.080 --> 0:42:43.840
<v Speaker 3>Ma was in any of the books, and have so

0:42:43.920 --> 0:42:47.240
<v Speaker 3>many children in my own life, it's a lot easier

0:42:47.280 --> 0:42:50.839
<v Speaker 3>to put myself in Ma's shoes and then get out

0:42:50.840 --> 0:42:54.160
<v Speaker 3>of them just as quickly. Taking the books through Ma's

0:42:54.200 --> 0:42:57.520
<v Speaker 3>eyes and by extension, through the eyes of women on

0:42:57.560 --> 0:43:01.880
<v Speaker 3>the frontier is an extreme and so overing experience, but

0:43:01.880 --> 0:43:04.640
<v Speaker 3>it can help explain at least some of Ma's behavior

0:43:04.719 --> 0:43:05.320
<v Speaker 3>in the books.

0:43:05.840 --> 0:43:07.879
<v Speaker 5>She's kind of stern in the books, isn't she when

0:43:07.880 --> 0:43:08.439
<v Speaker 5>you're a kid?

0:43:09.960 --> 0:43:12.680
<v Speaker 3>That's and lush. She and her family purchased the ingles

0:43:12.680 --> 0:43:14.640
<v Speaker 3>to Smet Homestead in the nineteen nineties.

0:43:15.360 --> 0:43:18.560
<v Speaker 5>I think a reflection of the times to the you know,

0:43:18.600 --> 0:43:21.200
<v Speaker 5>the point in history they're at, what roles people played

0:43:21.200 --> 0:43:24.040
<v Speaker 5>in families and how that was presented in stuff. I

0:43:24.040 --> 0:43:28.480
<v Speaker 5>don't think Caroline's alone and any means historically, I think

0:43:28.520 --> 0:43:33.600
<v Speaker 5>women oftentimes had to be firm about some things. For Caroline,

0:43:33.640 --> 0:43:37.120
<v Speaker 5>I think she was done moving. She probably said, nope,

0:43:37.280 --> 0:43:38.840
<v Speaker 5>de Smets, where we're going to stay. You know, I

0:43:38.840 --> 0:43:40.920
<v Speaker 5>don't want to move again? And stuff too. So I

0:43:40.960 --> 0:43:44.360
<v Speaker 5>think those parts of relationships and you know, between spouse's

0:43:44.480 --> 0:43:49.120
<v Speaker 5>was probably not represented all the time so much in history.

0:43:49.160 --> 0:43:51.080
<v Speaker 5>I think those things sometimes we have to go dig

0:43:51.080 --> 0:43:52.919
<v Speaker 5>in for him to find those stories a little bit more.

0:43:52.960 --> 0:43:55.479
<v Speaker 5>But I mean, I think of the women that moved

0:43:55.480 --> 0:43:57.319
<v Speaker 5>out here, and the stories too that you read of

0:43:57.360 --> 0:44:00.520
<v Speaker 5>other homesteaders, they were gutsy. I'm not sure I'd want

0:44:00.560 --> 0:44:00.840
<v Speaker 5>to do that.

0:44:02.560 --> 0:44:05.359
<v Speaker 3>The truth is, growing up, I had very little use

0:44:05.400 --> 0:44:10.399
<v Speaker 3>for Ma, which is not surprising. Mothers in general and

0:44:10.480 --> 0:44:15.240
<v Speaker 3>in storytelling are often scapegoaded for being a bummer man.

0:44:15.239 --> 0:44:15.720
<v Speaker 10>It worked.

0:44:16.040 --> 0:44:20.520
<v Speaker 3>Ma is the villain here. That's writer Rebecca Trister.

0:44:20.640 --> 0:44:27.440
<v Speaker 6>Again, Pa is presented as actually being more reasonable and

0:44:27.680 --> 0:44:32.040
<v Speaker 6>interested in and the person who is able to acknowledge,

0:44:32.200 --> 0:44:36.560
<v Speaker 6>even in very small ways. Pa is presented as the

0:44:36.600 --> 0:44:43.040
<v Speaker 6>most humane in the family, and Ma is the one

0:44:43.120 --> 0:44:47.760
<v Speaker 6>who who my kids were like this woman's bad news.

0:44:48.480 --> 0:44:51.400
<v Speaker 3>Ma is also the person constantly telling Laura what she

0:44:51.560 --> 0:44:55.440
<v Speaker 3>can't do. She's the context for Laura's misbehavior.

0:44:56.840 --> 0:45:01.120
<v Speaker 6>Ma is also giving voice in chi her for that stuff.

0:45:01.160 --> 0:45:03.919
<v Speaker 6>She's also giving voice both to the attitudes that did

0:45:04.000 --> 0:45:08.680
<v Speaker 6>keep women in certain roles, but also that understood wildness

0:45:08.719 --> 0:45:12.279
<v Speaker 6>as a risk for women. It's also interesting to think

0:45:12.280 --> 0:45:15.240
<v Speaker 6>about the messages that Ma's sending Laura throughout, because Laura

0:45:15.320 --> 0:45:18.759
<v Speaker 6>is uncontained and she is does have impulses toward independence

0:45:18.840 --> 0:45:21.920
<v Speaker 6>and toward more masculine behavior. Right that she's what was

0:45:22.000 --> 0:45:25.040
<v Speaker 6>understood as masculinized behavior that she would run barefoot and

0:45:25.120 --> 0:45:26.080
<v Speaker 6>keep her head uncovered.

0:45:26.800 --> 0:45:29.640
<v Speaker 3>Also a concern for Ma raising young girls, or the

0:45:29.719 --> 0:45:31.839
<v Speaker 3>underlying sexual politics.

0:45:31.840 --> 0:45:38.399
<v Speaker 6>Unconsciously probably reflected one of the realities that was very

0:45:38.520 --> 0:45:43.440
<v Speaker 6>much on the minds of parents and mothers, and that

0:45:43.680 --> 0:45:47.000
<v Speaker 6>was probably undergirding a lot of what she's saying to Laura,

0:45:47.080 --> 0:45:49.399
<v Speaker 6>which I hastened to add is not a defense of it, right,

0:45:49.520 --> 0:45:52.120
<v Speaker 6>but is like so much of the you know, put

0:45:52.200 --> 0:45:56.200
<v Speaker 6>your hat on, it is a reaction to fear of

0:45:56.280 --> 0:45:57.400
<v Speaker 6>sexual violence.

0:45:57.560 --> 0:46:01.120
<v Speaker 3>Right, and Ma had a lot to fear until they

0:46:01.200 --> 0:46:04.839
<v Speaker 3>landed and desmet, and Ma forbid Pa to take them

0:46:04.840 --> 0:46:09.480
<v Speaker 3>anywhere else. The Ingles were constantly on the move, which

0:46:09.520 --> 0:46:13.120
<v Speaker 3>meant Ma had to be constantly on guard, navigating the

0:46:13.239 --> 0:46:18.440
<v Speaker 3>uncertainties of being a woman with daughters in unfamiliar territory.

0:46:19.640 --> 0:46:22.840
<v Speaker 3>As a kid, it felt like Pa was leading his

0:46:22.960 --> 0:46:27.880
<v Speaker 3>family on a great adventure. As a grown up, it

0:46:27.920 --> 0:46:32.960
<v Speaker 3>feels like something else entirely. Let's turn our grown up

0:46:33.000 --> 0:46:36.480
<v Speaker 3>gaze on Laura's hero. It's time to talk about the

0:46:36.520 --> 0:46:41.280
<v Speaker 3>elephant in the room, and that elephant's name is Charles Ingalls.

0:46:42.960 --> 0:46:46.600
<v Speaker 3>We know Laura idolized her father. This was something she

0:46:46.800 --> 0:46:49.440
<v Speaker 3>never seemed to quite get over even as an adult.

0:46:49.880 --> 0:46:52.920
<v Speaker 3>Whatever flaws Pa might have had, and however aware of them,

0:46:52.960 --> 0:46:56.560
<v Speaker 3>Laura was that awareness was never conveyed in the books

0:46:57.000 --> 0:47:00.520
<v Speaker 3>and real life. Charles Ingalls definitely did something which are

0:47:00.680 --> 0:47:03.440
<v Speaker 3>very contradictory to the paw we know from the books.

0:47:04.160 --> 0:47:07.040
<v Speaker 3>That brings us back to Burr Oak. You'll recall the

0:47:07.080 --> 0:47:10.279
<v Speaker 3>reason the Ingles left Burr Oak was because they were

0:47:10.320 --> 0:47:12.719
<v Speaker 3>in a financial hole they couldn't climb out of.

0:47:13.800 --> 0:47:13.880
<v Speaker 7>It.

0:47:13.960 --> 0:47:18.279
<v Speaker 3>Turns out they didn't leave so much as make a

0:47:18.400 --> 0:47:21.640
<v Speaker 3>run for it in the middle of the night. Here's

0:47:21.680 --> 0:47:24.439
<v Speaker 3>Barbara again our museum guide from Burr Oak.

0:47:25.360 --> 0:47:28.279
<v Speaker 15>This is the Bisbee Room. He is the man that

0:47:28.480 --> 0:47:31.440
<v Speaker 15>owned the house. Were graceless born, and the Ingles rented

0:47:31.560 --> 0:47:36.000
<v Speaker 15>from him. And he was a wealthy young bachelor that

0:47:36.080 --> 0:47:40.320
<v Speaker 15>at Laura wrote about that was so demanding, demanded Charles

0:47:40.360 --> 0:47:44.560
<v Speaker 15>catch up with his rent payments, and he had threatened

0:47:44.640 --> 0:47:47.239
<v Speaker 15>Charles to come up with the money that he was

0:47:47.320 --> 0:47:50.200
<v Speaker 15>owed for rant or he would have a sheriff come

0:47:50.200 --> 0:47:53.480
<v Speaker 15>and get their horses. Charles had sold the milk cow

0:47:53.719 --> 0:47:57.080
<v Speaker 15>the evening before to have a little bit of money

0:47:57.120 --> 0:47:59.600
<v Speaker 15>to travel with, and they packed up in the middle

0:47:59.600 --> 0:48:00.520
<v Speaker 15>of the night.

0:48:00.960 --> 0:48:04.080
<v Speaker 3>Unable to pay their rent. Charles had actually packed up

0:48:04.080 --> 0:48:07.799
<v Speaker 3>his family under cover of darkness and then skipped down

0:48:08.320 --> 0:48:10.080
<v Speaker 3>and headed right back to Walnut Grove.

0:48:10.640 --> 0:48:14.479
<v Speaker 15>We get asked all the time if Charles paid eventually paid,

0:48:14.560 --> 0:48:16.960
<v Speaker 15>because he had offered to do that. He had come

0:48:17.000 --> 0:48:19.439
<v Speaker 15>to Bisbee knowing that there was a problem and said

0:48:19.480 --> 0:48:21.680
<v Speaker 15>that he was. They were going to move back to

0:48:21.719 --> 0:48:24.359
<v Speaker 15>Walnut Grove and get a job with some friends, and

0:48:24.360 --> 0:48:27.319
<v Speaker 15>that he would send him what was do what he

0:48:27.400 --> 0:48:31.000
<v Speaker 15>owed him. So we don't know. We honestly don't know

0:48:31.040 --> 0:48:34.640
<v Speaker 15>whether he made good on his promise or not. I'd

0:48:34.680 --> 0:48:40.360
<v Speaker 15>like to think so, based on his personality and the

0:48:40.360 --> 0:48:41.960
<v Speaker 15>way he was raising his girls.

0:48:43.320 --> 0:48:45.080
<v Speaker 3>Does pau skipping out in the middle of the night

0:48:45.160 --> 0:48:48.640
<v Speaker 3>shock you? Does it make you think less of him?

0:48:48.800 --> 0:48:50.799
<v Speaker 3>It's certainly at odds with the pa we thought we

0:48:50.840 --> 0:48:55.960
<v Speaker 3>knew his children, But as an adult, it's definitely easier

0:48:56.000 --> 0:48:58.320
<v Speaker 3>to see this version between the lines of what Laura

0:48:58.440 --> 0:49:01.080
<v Speaker 3>was writing. And I don't think it's that the subject

0:49:01.080 --> 0:49:05.440
<v Speaker 3>has changed. It's that we have in the case of

0:49:05.520 --> 0:49:07.920
<v Speaker 3>Paw and so much of the storytelling, we grew up

0:49:07.960 --> 0:49:11.960
<v Speaker 3>on the history and our culture around it has shifted.

0:49:14.480 --> 0:49:16.480
<v Speaker 3>It was the first thing that came up in the

0:49:16.520 --> 0:49:19.440
<v Speaker 3>first conversation we had on the road in the parking

0:49:19.480 --> 0:49:21.960
<v Speaker 3>lot of the Walnut Grove pageant, and then it came

0:49:22.040 --> 0:49:26.400
<v Speaker 3>up again and again in interviews. What is the deal

0:49:26.640 --> 0:49:29.359
<v Speaker 3>with Paw? They're wild to read as.

0:49:29.280 --> 0:49:31.640
<v Speaker 4>A grown up though sometimes but as an analyst, what

0:49:31.680 --> 0:49:32.200
<v Speaker 4>are you thinking for?

0:49:32.800 --> 0:49:35.879
<v Speaker 16>Well, unfortunately I haven't read it since I was twelve.

0:49:35.800 --> 0:49:37.040
<v Speaker 3>So I really need to go back.

0:49:37.160 --> 0:49:37.640
<v Speaker 7>I don't know.

0:49:37.719 --> 0:49:39.359
<v Speaker 2>I mean, I saw the picture and I could see

0:49:39.400 --> 0:49:40.879
<v Speaker 2>there was something really special going on.

0:49:41.280 --> 0:49:43.600
<v Speaker 16>Oh really, it feels like it like it feels like

0:49:43.640 --> 0:49:46.160
<v Speaker 16>he's on a different plane in a good way.

0:49:47.480 --> 0:49:51.080
<v Speaker 3>Vanity Fair writer Marin O'Connor, who rereads the books yearly,

0:49:51.160 --> 0:49:51.759
<v Speaker 3>spotted it.

0:49:52.280 --> 0:49:55.440
<v Speaker 16>Pa just keeps messing up their lives in every single book,

0:49:55.680 --> 0:49:58.400
<v Speaker 16>and yet the utter total faith in Paul and the

0:49:58.480 --> 0:50:01.480
<v Speaker 16>utter faithe and like there's a on present. Paul will survive,

0:50:01.760 --> 0:50:04.800
<v Speaker 16>if pause president, we will survive. It was not until

0:50:04.800 --> 0:50:07.680
<v Speaker 16>a much later reread that I was like, does pop menia?

0:50:07.920 --> 0:50:08.640
<v Speaker 3>Paw is not.

0:50:09.400 --> 0:50:13.120
<v Speaker 16>He makes very impulsive choices and the family is like

0:50:13.200 --> 0:50:14.719
<v Speaker 16>a little bit in disarray.

0:50:14.880 --> 0:50:19.520
<v Speaker 3>Every time writer Rebecca Traster saw it.

0:50:19.040 --> 0:50:22.239
<v Speaker 6>Pa was the least stable pause like your nightmare dad.

0:50:22.440 --> 0:50:24.160
<v Speaker 6>But I was reading these books to my kids, my

0:50:24.239 --> 0:50:26.480
<v Speaker 6>husband and I were like, what is wrong with Paw?

0:50:26.760 --> 0:50:32.719
<v Speaker 6>Like Paw is like clearly not well and inflicting torture

0:50:32.760 --> 0:50:34.759
<v Speaker 6>on his family, right, And I thought, And then I

0:50:34.800 --> 0:50:36.840
<v Speaker 6>read Prairie Fires, and I'm like, oh, and he was

0:50:36.960 --> 0:50:41.640
<v Speaker 6>also a swindler, like a cheat.

0:50:44.440 --> 0:50:46.480
<v Speaker 3>Before you worry that we have it in for Paw,

0:50:47.200 --> 0:50:50.160
<v Speaker 3>we don't, not really. And I want to point out

0:50:50.239 --> 0:50:52.680
<v Speaker 3>that when I brought this up to Wilder scholar Pamela

0:50:52.760 --> 0:50:56.200
<v Speaker 3>smith Hill, she had a much different take, one more

0:50:56.280 --> 0:50:59.719
<v Speaker 3>rooted in historical context and less in our modern day

0:50:59.760 --> 0:51:01.240
<v Speaker 3>under standing of mental illness.

0:51:03.360 --> 0:51:07.560
<v Speaker 7>Suspect too, that we view him very differently now in

0:51:07.600 --> 0:51:10.880
<v Speaker 7>the twenty first century than he was viewed when the

0:51:10.880 --> 0:51:14.759
<v Speaker 7>books were first published, because the books were published during

0:51:14.760 --> 0:51:17.959
<v Speaker 7>the Depression, and lots of men were having a very

0:51:17.960 --> 0:51:21.280
<v Speaker 7>difficult time earning a living and providing for their family,

0:51:21.520 --> 0:51:26.680
<v Speaker 7>and it was very hard for families in the nineteen thirties,

0:51:26.680 --> 0:51:30.160
<v Speaker 7>for hundreds and hundreds of families to make ends meet.

0:51:30.239 --> 0:51:33.560
<v Speaker 7>And I think perhaps they related to Charles Ingles very

0:51:33.560 --> 0:51:36.520
<v Speaker 7>differently than we do today. The extreme poverty that the

0:51:36.520 --> 0:51:41.439
<v Speaker 7>family suffers in the book is softened by Wilder's own

0:51:41.560 --> 0:51:46.160
<v Speaker 7>affection for the character of Paw, and by the pioneer

0:51:46.440 --> 0:51:53.080
<v Speaker 7>stoicism and optimism with which the Ingalls family faces every

0:51:53.120 --> 0:51:54.879
<v Speaker 7>new challenge.

0:51:55.160 --> 0:51:58.600
<v Speaker 3>Laura's affection for Paw is what comes through no matter what.

0:52:00.120 --> 0:52:03.319
<v Speaker 3>Never get the sense she's lying about her father or

0:52:03.360 --> 0:52:07.280
<v Speaker 3>even leaving things out on purpose. It's more like Laura

0:52:07.320 --> 0:52:11.600
<v Speaker 3>didn't see the issue, or couldn't see the issue, or

0:52:11.680 --> 0:52:14.360
<v Speaker 3>maybe that in the context of frontier life in the

0:52:14.360 --> 0:52:18.600
<v Speaker 3>eighteen eighties, Paw really was fantastic. It's not like there

0:52:18.680 --> 0:52:22.440
<v Speaker 3>was a ton of stability for anyone, and he played.

0:52:22.200 --> 0:52:23.120
<v Speaker 7>The fiddle.

0:52:25.040 --> 0:52:27.080
<v Speaker 3>For those of us who also grew up with larger

0:52:27.080 --> 0:52:31.000
<v Speaker 3>than life parents. Certain things about Laura's relationship with Paw

0:52:31.239 --> 0:52:33.480
<v Speaker 3>resonated in ways we might not have been able to

0:52:33.560 --> 0:52:37.320
<v Speaker 3>articulate at the time, but still felt deeply familiar.

0:52:38.120 --> 0:52:38.359
<v Speaker 7>Well.

0:52:38.520 --> 0:52:41.960
<v Speaker 1>Pa also represents, I think a part of the book

0:52:42.000 --> 0:52:45.640
<v Speaker 1>that readers respond to so much, which is that like

0:52:45.960 --> 0:52:50.480
<v Speaker 1>he does represent that purity, he represents wild nature, and

0:52:50.480 --> 0:52:52.760
<v Speaker 1>he's already like pretending to be an animal.

0:52:52.960 --> 0:52:57.960
<v Speaker 3>Here's Lizzie Skernick, writer and professor of children's literature at NYU.

0:52:58.360 --> 0:53:04.040
<v Speaker 1>And so I think we love Pa for that. Also

0:53:04.160 --> 0:53:08.239
<v Speaker 1>that Pa, you know, is untamed. Everybody always gets so

0:53:08.440 --> 0:53:11.080
<v Speaker 1>mad at me because even at the time I always left. Well, God,

0:53:11.120 --> 0:53:15.440
<v Speaker 1>Pas seems so manic. So he's hauling Laura around everywhere,

0:53:15.480 --> 0:53:17.440
<v Speaker 1>like what the hell is wrong with him? You know,

0:53:17.960 --> 0:53:20.600
<v Speaker 1>like a normal person can't walk one hundred mile rust

0:53:20.719 --> 0:53:22.759
<v Speaker 1>with no shoes, you know, like he has to have

0:53:23.400 --> 0:53:24.000
<v Speaker 1>he is mad.

0:53:24.520 --> 0:53:27.279
<v Speaker 6>So funny because my father is bipolar, and probably like

0:53:27.360 --> 0:53:29.920
<v Speaker 6>I identified with that behavior as a child because it

0:53:30.000 --> 0:53:31.840
<v Speaker 6>felt so well my mother familiar.

0:53:32.000 --> 0:53:34.600
<v Speaker 1>Yes, my mother was manned, and I was like, she

0:53:34.640 --> 0:53:37.760
<v Speaker 1>seems a lot like Pa, that he has all this energy.

0:53:38.600 --> 0:53:40.920
<v Speaker 3>Another reason it's hard to see pause flaws when you're

0:53:40.960 --> 0:53:43.919
<v Speaker 3>a kid is that he's always on Laura's side. Where

0:53:43.960 --> 0:53:49.319
<v Speaker 3>Moss goolds, Paw encourages, or at least understands, often with

0:53:49.360 --> 0:53:52.279
<v Speaker 3>a humorous wink of the eye in Laura's direction, I'm

0:53:52.280 --> 0:53:54.920
<v Speaker 3>on your side. He always seems to be saying, I

0:53:55.040 --> 0:53:58.640
<v Speaker 3>see you and I understand. Also, he allowed Laura to

0:53:58.640 --> 0:54:02.280
<v Speaker 3>be who she was, yes, and Ma did not. Reasons

0:54:02.280 --> 0:54:04.200
<v Speaker 3>that makes sense to me as an adult in that

0:54:04.360 --> 0:54:07.920
<v Speaker 3>time of Ma's motivations, But as a child, all it

0:54:07.960 --> 0:54:10.080
<v Speaker 3>said to me was he loves her for who she

0:54:10.360 --> 0:54:13.760
<v Speaker 3>is and doesn't punish her for being as the person

0:54:13.880 --> 0:54:16.920
<v Speaker 3>she wants to be, whereas Ma's always trying to contain

0:54:16.960 --> 0:54:17.799
<v Speaker 3>it and tame it.

0:54:17.920 --> 0:54:20.319
<v Speaker 15>He doesn't punish her ugly humanity.

0:54:21.120 --> 0:54:25.239
<v Speaker 1>And you know that he doesn't punish that she's jealous

0:54:25.360 --> 0:54:29.600
<v Speaker 1>or you know, angry or selfish or greedy. You know

0:54:29.880 --> 0:54:32.440
<v Speaker 1>when she comes home from rocking the desk and he

0:54:32.480 --> 0:54:35.360
<v Speaker 1>doesn't get angry at her. And Laura says, and she

0:54:35.560 --> 0:54:38.440
<v Speaker 1>was mean to Jack. It's like, I love that line

0:54:38.480 --> 0:54:39.960
<v Speaker 1>as a kid, I was like, she was mean to

0:54:40.040 --> 0:54:42.640
<v Speaker 1>the dog. But Paw doesn't get it. He just lets

0:54:42.640 --> 0:54:42.960
<v Speaker 1>it go.

0:54:43.040 --> 0:54:46.719
<v Speaker 3>He's like he understands, whereas Ma's so upset and paus like,

0:54:47.040 --> 0:54:47.800
<v Speaker 3>I kind of get.

0:54:47.680 --> 0:54:49.040
<v Speaker 7>It right exactly.

0:54:49.120 --> 0:54:52.160
<v Speaker 1>And I do think we love pa because he loves Laura,

0:54:52.520 --> 0:54:55.160
<v Speaker 1>And part of what we love Laura is is for

0:54:55.239 --> 0:54:56.600
<v Speaker 1>all her messy humanity.

0:54:57.080 --> 0:54:59.920
<v Speaker 3>There are a couple of ways to think about Pa.

0:55:00.080 --> 0:55:02.040
<v Speaker 3>Is that he's a stand in for all the white

0:55:02.120 --> 0:55:07.120
<v Speaker 3>male savior figures that populate our myths. Particularly are American myths.

0:55:08.160 --> 0:55:12.200
<v Speaker 3>He is our hero and our anti hero, and also

0:55:12.800 --> 0:55:16.960
<v Speaker 3>he can be mind blowingly selfish sometimes. Joe and I

0:55:17.000 --> 0:55:20.759
<v Speaker 3>talked about encountering Pa as grown women and all the

0:55:20.800 --> 0:55:24.000
<v Speaker 3>ways in which he now really rubbed us the wrong way.

0:55:25.400 --> 0:55:28.360
<v Speaker 4>First of all, when we were in Pepin, in the

0:55:28.360 --> 0:55:32.600
<v Speaker 4>Little House in the Big Woods, it was so beautiful,

0:55:33.560 --> 0:55:40.439
<v Speaker 4>just crazy, crazy, pretty peaceful, lovely, right on the Mississippi River,

0:55:41.000 --> 0:55:44.799
<v Speaker 4>And all I could think was, why did they leave here?

0:55:45.440 --> 0:55:47.759
<v Speaker 4>Why did they leave here to go to live on

0:55:47.800 --> 0:55:52.239
<v Speaker 4>the prairie where life was really really hard? While Ma

0:55:52.760 --> 0:55:55.720
<v Speaker 4>had these little girls, and she was and she was pregnant.

0:55:56.040 --> 0:55:59.319
<v Speaker 4>Wasn't she pregnant at the time? I feel like Ma

0:55:59.760 --> 0:56:01.359
<v Speaker 4>was an abusive relationship.

0:56:01.880 --> 0:56:05.440
<v Speaker 3>Yeah, I mean and in Little House at the beginning

0:56:05.440 --> 0:56:08.399
<v Speaker 3>of Little House on the Prairie the book, there's no

0:56:08.560 --> 0:56:11.280
<v Speaker 3>they don't give any reasoning for this. There's no real reason,

0:56:11.440 --> 0:56:13.680
<v Speaker 3>like it's like, oh, well, Paw felt that there wasn't

0:56:13.760 --> 0:56:17.680
<v Speaker 3>enough animals to hunt, so he yanked his entire family

0:56:17.840 --> 0:56:20.799
<v Speaker 3>out of their home, away from their extended family, and

0:56:20.880 --> 0:56:24.720
<v Speaker 3>dragged them to a legally squat on the Osage Diminished Reserve,

0:56:24.760 --> 0:56:29.840
<v Speaker 3>where they weren't supposed to be anyway, and reading that

0:56:29.880 --> 0:56:32.040
<v Speaker 3>as a kid, you were just like, oh, okay, And

0:56:32.080 --> 0:56:33.080
<v Speaker 3>as a grown up it's.

0:56:33.000 --> 0:56:35.759
<v Speaker 4>Like, like, this is grounds for divorce, my friend, this.

0:56:35.800 --> 0:56:40.040
<v Speaker 3>Is insane at the same time, and this is not

0:56:40.080 --> 0:56:44.719
<v Speaker 3>necessarily a defense of Paw. But I think one of

0:56:44.760 --> 0:56:47.400
<v Speaker 3>the things I realized, or I hadn't realized until I

0:56:47.440 --> 0:56:52.919
<v Speaker 3>read Caroline Fraser Prairie Fires, is how that Ma grew

0:56:53.000 --> 0:56:57.080
<v Speaker 3>up in even more severe poverty than Laura. Like, there

0:56:57.160 --> 0:57:00.479
<v Speaker 3>was a point her father died at sea, her mother

0:57:00.560 --> 0:57:02.400
<v Speaker 3>was a single mother with lots of kids. There was

0:57:02.440 --> 0:57:05.560
<v Speaker 3>a point where they were like literally eating dirt to survive.

0:57:06.239 --> 0:57:09.680
<v Speaker 3>So like, in the context of that, was this terrible?

0:57:09.840 --> 0:57:13.120
<v Speaker 3>I don't know? And also was it less terrible than

0:57:13.160 --> 0:57:16.960
<v Speaker 3>the idea of trying to support yourself to children and

0:57:17.000 --> 0:57:19.919
<v Speaker 3>a baby on the way as a single mother.

0:57:20.680 --> 0:57:24.400
<v Speaker 4>That sounds exactly like a defensive Paw. And yes, this

0:57:24.600 --> 0:57:26.960
<v Speaker 4>was a bad decision. This is a man who consistently

0:57:27.040 --> 0:57:33.080
<v Speaker 4>made bad decisions and did not consider his family, his wife.

0:57:33.160 --> 0:57:36.520
<v Speaker 4>He did not. I don't I genuinely believe now knowing

0:57:36.760 --> 0:57:40.040
<v Speaker 4>everything I know about the story and visiting these places,

0:57:40.480 --> 0:57:46.480
<v Speaker 4>that Paw was a ridunculously selfish individual, and there's no divorce,

0:57:47.000 --> 0:57:51.000
<v Speaker 4>and being a single woman on your own is impossible,

0:57:51.400 --> 0:57:56.720
<v Speaker 4>and Ma had no options. So essentially it's women were screwed.

0:57:56.720 --> 0:57:57.240
<v Speaker 4>No matter what.

0:57:59.280 --> 0:58:01.320
<v Speaker 3>It's so, I mean, it's still true today in so

0:58:01.400 --> 0:58:04.200
<v Speaker 3>many places. It's nothing funny about it. And there are

0:58:04.240 --> 0:58:06.400
<v Speaker 3>points in the book where when I went back to

0:58:06.440 --> 0:58:10.040
<v Speaker 3>read it this time I really was like, Oh my god,

0:58:10.240 --> 0:58:14.240
<v Speaker 3>you are such a horrible person. Pa. Like the long winter,

0:58:14.840 --> 0:58:18.480
<v Speaker 3>they're all starving, and Pa goes across the street to Almonzo,

0:58:19.200 --> 0:58:21.320
<v Speaker 3>you know, Laura's future husband, who lives with his brother,

0:58:21.440 --> 0:58:24.640
<v Speaker 3>and they secretly stored grain in the wall, and Pa

0:58:24.640 --> 0:58:27.680
<v Speaker 3>goes and takes them for his family because they're starving,

0:58:27.880 --> 0:58:29.920
<v Speaker 3>and they're like, well Ingles, why don't you stay for

0:58:30.040 --> 0:58:33.840
<v Speaker 3>some flapjacks because they're making pancakes. And then she goes.

0:58:33.920 --> 0:58:37.400
<v Speaker 3>Laura spends like four paragraphs describing these delicious flapjacks that

0:58:37.440 --> 0:58:41.320
<v Speaker 3>are covered in butter and syrup, and Pau sits down

0:58:41.400 --> 0:58:43.960
<v Speaker 3>and he has like played after play to them, and

0:58:44.040 --> 0:58:45.800
<v Speaker 3>all I could think of on this when I first

0:58:45.800 --> 0:58:47.680
<v Speaker 3>read it as a kid, I was like, Oh, thank goodness,

0:58:47.720 --> 0:58:49.880
<v Speaker 3>Pa is getting something to eat, and as a grown up,

0:58:49.920 --> 0:58:52.800
<v Speaker 3>I was like, why aren't you packing it to go bag?

0:58:53.120 --> 0:58:56.640
<v Speaker 3>Like your family is across the street and to.

0:58:56.640 --> 0:58:57.680
<v Speaker 4>Me, they're hungry.

0:58:57.960 --> 0:59:02.320
<v Speaker 3>Yeah, And then I also thought, but it never occurred

0:59:02.360 --> 0:59:06.640
<v Speaker 3>to Laura, like she clearly idolizes her father in ways

0:59:06.680 --> 0:59:11.800
<v Speaker 3>that feel unhealthy, unhealthy and familiar, and like ways I

0:59:11.920 --> 0:59:19.920
<v Speaker 3>understand feeling before I had therapy. It's intense, though, to

0:59:19.920 --> 0:59:22.680
<v Speaker 3>read this as a grown up. It's like meeting your

0:59:22.680 --> 0:59:24.880
<v Speaker 3>own parents and being like, oh my god.

0:59:26.000 --> 0:59:27.080
<v Speaker 4>Sure, no, it is.

0:59:27.240 --> 0:59:27.640
<v Speaker 1>It is.

0:59:28.280 --> 0:59:33.120
<v Speaker 4>And that makes me think a lot about the things

0:59:33.160 --> 0:59:38.440
<v Speaker 4>that Laura chose to include in these books, because a

0:59:38.480 --> 0:59:42.320
<v Speaker 4>lot of this feels like Laura is reworking a lot

0:59:42.360 --> 0:59:47.000
<v Speaker 4>of trauma to make a childhood narrative that makes sense.

0:59:47.120 --> 0:59:50.600
<v Speaker 4>Like everything is copy meets a Disney.

0:59:50.200 --> 0:59:57.720
<v Speaker 3>Fairy tale totally Nora Efron meets Mickey Mouse, but the

0:59:57.760 --> 1:00:02.120
<v Speaker 3>fairy tale leaves out not just stuff that happened in

1:00:02.160 --> 1:00:04.640
<v Speaker 3>their life, but like it leaves out so much of

1:00:04.680 --> 1:00:09.360
<v Speaker 3>what was happening in America at the time she lived

1:00:09.360 --> 1:00:14.360
<v Speaker 3>in it. And on the one hand, I often think, like,

1:00:15.320 --> 1:00:18.240
<v Speaker 3>how much can we expect a sixty five year old

1:00:18.320 --> 1:00:24.480
<v Speaker 3>woman to shoulder in terms of accurate American history. The

1:00:24.560 --> 1:00:28.800
<v Speaker 3>truth is, despite all the incredible lifestyle details included in

1:00:28.800 --> 1:00:32.200
<v Speaker 3>the Little House Books, the books provide very little sense

1:00:32.200 --> 1:00:34.880
<v Speaker 3>of what was actually happening in America at the time.

1:00:35.480 --> 1:00:39.080
<v Speaker 3>At their best, they offer a sort of door for

1:00:39.160 --> 1:00:42.400
<v Speaker 3>readers to walk through or drive through, as the case

1:00:42.440 --> 1:00:47.200
<v Speaker 3>may be, to find out what is on the other side. Ideally,

1:00:47.880 --> 1:00:49.760
<v Speaker 3>they prompt you to want to know more of the

1:00:49.800 --> 1:00:56.480
<v Speaker 3>story and to start asking bigger and better questions. For instance,

1:00:57.240 --> 1:01:00.720
<v Speaker 3>what was happening outside in America during Laura's childhood that

1:01:00.880 --> 1:01:03.640
<v Speaker 3>might help explain some of what was happening inside of

1:01:03.720 --> 1:01:10.920
<v Speaker 3>Laura's Little Houses. Next week, we're going through that door

1:01:11.320 --> 1:01:13.560
<v Speaker 3>to briefly take a look at what was going on

1:01:13.600 --> 1:01:16.440
<v Speaker 3>in the country Laura was traveling across with her family.

1:01:17.680 --> 1:01:25.440
<v Speaker 3>That's next week on Wilder. Wilder is written and hosted

1:01:25.440 --> 1:01:29.280
<v Speaker 3>by me Glennis McNichol. Our story editors are Joe Piazza

1:01:29.400 --> 1:01:33.760
<v Speaker 3>and Emily Meronoff. Our senior producer is Emily Meroanoff. Our

1:01:33.800 --> 1:01:38.800
<v Speaker 3>producers are Mary Doo, Shina Ozaki, and Jessica Crinchich. Our

1:01:38.840 --> 1:01:42.040
<v Speaker 3>associate producer is Lauren Phillip. Sound design and mixing by

1:01:42.080 --> 1:01:46.880
<v Speaker 3>Amanda ro Smith. Production help from Asavari Sharma, Christina Everett,

1:01:47.160 --> 1:01:51.560
<v Speaker 3>Julia Weaver and Abu Safar Our scene in additional music

1:01:51.680 --> 1:01:54.600
<v Speaker 3>was composed by Alis McCoy. We are executive produced by

1:01:54.640 --> 1:01:59.880
<v Speaker 3>Joe Piazza, Niki Tor, Ali Perry and Me. If you're

1:02:00.080 --> 1:02:04.720
<v Speaker 3>enjoying Wilder, please consider rating and reviewing us on Apple Podcasts.

1:02:05.120 --> 1:02:08.440
<v Speaker 3>It actually helps us out quite a lot. Special thanks

1:02:08.480 --> 1:02:11.200
<v Speaker 3>to Barbara at the Laura Ingles Wilder Park and Museum

1:02:11.280 --> 1:02:14.360
<v Speaker 3>in Burr Oak, Iowa for showing us around the Gordon

1:02:14.440 --> 1:02:18.160
<v Speaker 3>family for preserving the dugout site in Walnut Grove and

1:02:18.280 --> 1:02:21.560
<v Speaker 3>a Leash, and the Ingles Homestead in Dismet, South Dakota.

1:02:22.000 --> 1:02:25.360
<v Speaker 3>Thank you to CDM Studios. Please see our show notes

1:02:25.400 --> 1:02:27.600
<v Speaker 3>if you want to know more about the people we interviewed,

1:02:27.800 --> 1:02:30.800
<v Speaker 3>the places we visited, the books we mentioned. You can

1:02:30.800 --> 1:02:32.640
<v Speaker 3>also find our contact and go there. If you want

1:02:32.640 --> 1:02:34.720
<v Speaker 3>to write to us with your own thoughts and questions,

1:02:35.320 --> 1:02:38.680
<v Speaker 3>we're going to be including listener responses in our final episode.

1:02:38.800 --> 1:02:41.960
<v Speaker 3>If you have thoughts on Wilder or the Little House series,

1:02:42.440 --> 1:02:45.720
<v Speaker 3>please send us a voice memo to wilderpodcast at gmail

1:02:45.720 --> 1:02:50.680
<v Speaker 3>dot com. Follow us on Instagram at Wilder Underscore podcast

1:02:51.040 --> 1:02:54.160
<v Speaker 3>and on TikTok At Wilder podcast where you can see

1:02:54.200 --> 1:02:57.800
<v Speaker 3>behind the scenes footage from all our travels. Thank you

1:02:57.840 --> 1:02:59.640
<v Speaker 3>for listening. We'll see you next week.

1:03:01.200 --> 1:03:02.600
<v Speaker 7>No No