WEBVTT - Lawrence Block

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<v Speaker 1>This is me, Craig Ferguson. I'm inviting you to come

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<v Speaker 1>and see my brand new comedy hour. Well it's actually

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<v Speaker 1>it's about an hour and a half and I don't

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<v Speaker 1>have an opener because these guys cost money. But what

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<v Speaker 1>I'm saying is I'll be on stage for a while. Anyway,

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<v Speaker 1>come and see me live on the pads on Fire

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<v Speaker 1>Tour in your region. Tickets are on sale now and

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<v Speaker 1>we'll be adding more as the tour continues throughout twenty twenty.

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<v Speaker 2>Five and beyond.

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<v Speaker 1>For a full list of dates, go to the Craig

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<v Speaker 1>Ferguson show dot com. See you on the road, my DearS.

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<v Speaker 1>My name is Craig Ferguson. The name of this podcast

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<v Speaker 1>is Joy. I talk to interesting people about what brings

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<v Speaker 1>them happiness. Welcome to the Joy Podcast. Welcome to the

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<v Speaker 1>Kids Super Studios here in Brooklyn. I am your host

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<v Speaker 1>Podcasts Craig Ferguson. My guest today is a great American writer.

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<v Speaker 1>If you don't know his work, you're in for a tweet.

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<v Speaker 1>And if you do know his work, you're in for

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<v Speaker 1>a treat. His name is Lawrence Block. He's a friend

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<v Speaker 1>of mine, but more importantly than that well, it depends

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<v Speaker 1>how you look at it. But he's just a great

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<v Speaker 1>writer and you should read him if you like to read.

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<v Speaker 1>And if you don't like to read, then just listen

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<v Speaker 1>to him talking today. And if you do like to

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<v Speaker 1>listen to people talking and like to, I'll let you

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<v Speaker 1>get on with it.

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<v Speaker 2>Here's Larry Block. You told me like.

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<v Speaker 1>Five minutes ago, ten minutes ago maybe when we were

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<v Speaker 1>walking outside in the intense feet while why we've got

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<v Speaker 1>a lot of beverages right, because we had got the

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<v Speaker 1>dates wrong for this recording. Specifically, you said it was Thursday.

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<v Speaker 1>I said it was the eighteenth. But Thursday is the seventeenth,

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<v Speaker 1>and so you were right about Thursday and I was

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<v Speaker 1>right about the eighteenth. I think we can agree that

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<v Speaker 1>that's fair.

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<v Speaker 2>We're here now, that's the main thing, all right, There

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<v Speaker 2>you go.

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<v Speaker 1>So you said to me outside as we were walking

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<v Speaker 1>towards the subway to maybe go home and come back tomorrow,

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<v Speaker 1>that you are retired.

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<v Speaker 2>You're not going to write anymore. Is that right? That's true.

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<v Speaker 2>I haven't written in gee, it's just about three years now.

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<v Speaker 2>I feel like I've heard that from you before, though, No, no, no,

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<v Speaker 2>there have been times I thought I was probably done

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<v Speaker 2>writing novels and that, but this is categorically different, and

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<v Speaker 2>it's it's curious in that in twenty twenty two I

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<v Speaker 2>wrote two novels in the course of the one year.

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<v Speaker 2>I wrote a book called The Burglar, The Burglar Who

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<v Speaker 2>Met Frederick Brown, which is a nice way. I think.

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<v Speaker 2>I haven't read that one. Oh well, what a treat.

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<v Speaker 2>You haven't a treat. I haven't stared, right, don't tell

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<v Speaker 2>me it. No spoilers, all right, no spoilers. But it's

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<v Speaker 2>it's a fitting volume, I think, to conclude the series.

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<v Speaker 1>The Barney series, the Bernie series. Yeah, yeah, that's and

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<v Speaker 1>you've done with Scudder. Scudder, you finished a wild back, right, no.

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<v Speaker 2>I wrote, I wrote a final volume of that in

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<v Speaker 2>twenty twenty two. Also, I haven't read that either.

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<v Speaker 1>I thought the Scudder one that you finished with was

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<v Speaker 1>a drop of the hard.

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<v Speaker 2>Stuff that had been the last one. But then, so.

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<v Speaker 1>That's why I thought you'd retired before, because you said, okay,

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<v Speaker 1>that's Scudder done.

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<v Speaker 2>That well it seemed to be. But this the new book,

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<v Speaker 2>I thought i'd send it to you, and I clearly

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<v Speaker 2>did not. Sorry, maybe I go I'll get it tomorrow.

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<v Speaker 2>It's called the Autobiography of Matthew Scudder. I do not

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<v Speaker 2>have that. And what it is is a fellow that

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<v Speaker 2>approached me about doing a short like three or four

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<v Speaker 2>thousand word biography of Scudder, to write about the character.

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<v Speaker 2>And I thought, I don't want to do that, and

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<v Speaker 2>I thought about it a little more, and I thought,

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<v Speaker 2>if Anyone's going to write Scudder's biography, should be the

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<v Speaker 2>man himself. And I thought, I thought about it a

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<v Speaker 2>little more and realized that what I wanted to do

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<v Speaker 2>was a full length book and it would be Scudder

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<v Speaker 2>telling his story. And the premise was that I've been

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<v Speaker 2>approached to do this, that I the Lawrence Block for

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<v Speaker 2>years has been writing books about Matthew Scudder which have

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<v Speaker 2>represented slight fictionalizations of his cases and that and this

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<v Speaker 2>is his Scudder giving his own memories. Do you go

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<v Speaker 2>back over the books that you wrote for Scott particularly,

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<v Speaker 2>some of them are referenced, certainly, but it's more filling

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<v Speaker 2>in blanks than about his life and background and everything else.

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<v Speaker 2>It's it may be the most enjoyment and satisfaction I've

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<v Speaker 2>ever had sitting down, sitting down and writing it, and

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<v Speaker 2>it's you know it's it's kind of meta, which is

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<v Speaker 2>a word I generally avoid using because I don't think

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<v Speaker 2>I or anyone else knows exactly what it is. No,

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<v Speaker 2>it doesn't, you know. And and once it became the

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<v Speaker 2>marks up Zuckerberg's new name for uh, for Facebook, it

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<v Speaker 2>was even more reason not to use the word. But

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<v Speaker 2>that I kind of kind of is what it is conceptually,

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<v Speaker 2>it's a divice.

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<v Speaker 1>I've seen before though a few times people use it

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<v Speaker 1>from tank time in literature. I remember, uh Carvonicet used

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<v Speaker 1>it with Kilgo Trout, didn't he the other way around?

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<v Speaker 2>All kind of kind of yeah, there was an awareness,

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<v Speaker 2>uh that way, But I think this is I had

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<v Speaker 2>thought that this was the first time that a writer

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<v Speaker 2>had who after a long standing series, had turned the

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<v Speaker 2>the I think it probably is not quite Oh, it

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<v Speaker 2>turned out that Seminon did something similar with McGray. Yeah.

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<v Speaker 2>I got a hold of a copy of that to

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<v Speaker 2>see what it was like. Unfortunately, well fortunately for my ego,

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<v Speaker 2>it was lousy. It was it wasn't real.

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<v Speaker 1>Honestly, a bit of Simon and a lot of those

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<v Speaker 1>make Gray books. I'm like, you've that could use a rewrite. Yeah,

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<v Speaker 1>a lot of a miss company out like one a week,

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<v Speaker 1>you know, but.

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<v Speaker 2>This it wasn't terribly interesting. But anyway, I did have

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<v Speaker 2>a good time with it, and when I finished, I thought, well, gee,

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<v Speaker 2>that was nice. I wrote two books in the course

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<v Speaker 2>of a year. I'm pleased with both of them. I

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<v Speaker 2>had a good time doing them. I'll probably write more.

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<v Speaker 2>And as the weeks passed, it became clear to me

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<v Speaker 2>that I was wrong about that, that I was done,

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<v Speaker 2>that I felt really complete. This was a nice capstan

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<v Speaker 2>for this Scudder series. It was a nice ending to

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<v Speaker 2>the Bernie series, and I didn't want to write anymore.

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<v Speaker 2>I've been doing this all the time for sixty five years.

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<v Speaker 2>I've written more books than anybody could should read let alone.

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<v Speaker 2>Have you any idea how many of there are? Do

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<v Speaker 2>you know? Yes, because a fellow has done a marvelous

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<v Speaker 2>job compiling a bibliography for me, and his list of

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<v Speaker 2>book titles individual volumes of mine, which includes anthologies that

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<v Speaker 2>I edited, and that they're probably about close to a

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<v Speaker 2>dozen of those. It comes came to about two hundred

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<v Speaker 2>and ten titles something like that. That's a lot of

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<v Speaker 2>It's a lot of us. That's it's enough, you know,

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<v Speaker 2>I feel I've written four. Yeah, well I think that's enough. Yeah,

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<v Speaker 2>I think four is enough. Well, come to think of it,

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<v Speaker 2>if I had made that decision early and I just

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<v Speaker 2>saved myself a lot, a lot of work.

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<v Speaker 1>Yeah, But it's interesting these two characters, Bernie rodenbar who's

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<v Speaker 1>the kind of gentlemen burglar, and Matt Scudder, who's the

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<v Speaker 1>in many ways an archetype for a lot of detectives

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<v Speaker 1>who came after. Yeah, you know, the hardbitten, New York reformed, drunk,

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<v Speaker 1>bad past detective. Both of these eyes. I have have

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<v Speaker 1>a long history with you. When did you start writing

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<v Speaker 1>because like, you started writing these guys in your thirties, right.

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<v Speaker 2>I've thought you meant the nineteen thirties. Nineteen thirties. Did

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<v Speaker 2>you start writing them in the night? That would be sure.

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<v Speaker 2>I'm a detective shape, right. I started writing them in

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<v Speaker 2>within about a year of each other. The characters were conceived,

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<v Speaker 2>and I started writing about them in the the the

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<v Speaker 2>mid seventies.

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<v Speaker 1>It's interesting because I was I was a very I

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<v Speaker 1>was a huge fan of Scudder right away, and Bernie

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<v Speaker 1>was a slower burn for me because Bernie felt like

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<v Speaker 1>it was a little more kind of almost PG Woodhouse

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<v Speaker 1>and it's kind of like light on his feet type

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<v Speaker 1>fun character. And because I'd come to you through Matt Scudder,

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<v Speaker 1>I was like the grimy the New York streets and

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<v Speaker 1>the yeah and the bad people and stuff. And then

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<v Speaker 1>Bernie was was kind of I was kind of looking

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<v Speaker 1>for that there and it wasn't there. And it wasn't

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<v Speaker 1>until I had the same thing with with Woodhouse though.

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<v Speaker 1>The first couple I read, I was like, what the

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<v Speaker 1>hell is this? And then once you get into it,

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<v Speaker 1>you go, this is actually great and actually in a

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<v Speaker 1>weird way, is brilliant, unbelievable right, and contains an odd

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<v Speaker 1>skewering of the British upper classes that I didn't spot

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<v Speaker 1>at first.

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<v Speaker 2>I mean, but it's it's so wonderful.

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<v Speaker 1>Yeah, the kind of like the way he cuts up,

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<v Speaker 1>the kind of doubt Nabby set is fantastic.

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<v Speaker 2>Yeah. Yeah. Also heah evidently had a real resentment against

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<v Speaker 2>older female relatives, Yes for sure. Yeah. Do you do

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<v Speaker 2>that in books?

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<v Speaker 1>Do you put people in books that you're angry at,

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<v Speaker 1>like if you run across somebody?

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<v Speaker 2>Did you ever do that with Bernie or with No? No,

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<v Speaker 2>I don't think I ever have. If I have it's

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<v Speaker 2>it's uh slipped. My mind has so many things too.

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<v Speaker 2>But do you ever read the book? And I have

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<v Speaker 2>no recollection of write now. No, well that's not entirely true.

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<v Speaker 2>Early on, I did a lot of erotic paperbacks, you know,

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<v Speaker 2>under pen name. I did tons of those. That was

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<v Speaker 2>the way to earn money, right, it was like your

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<v Speaker 2>only fans page. No, it was you liked erotic. It

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<v Speaker 2>was what I did, and you know the it was

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<v Speaker 2>it was to make money. But they're all to make money. Yeah,

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<v Speaker 2>I guess that's your job, that's what you did. But

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<v Speaker 2>some of those, in uh, later years, I've because I'm

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<v Speaker 2>shameless and because Ego and Avarice are my two motivators,

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<v Speaker 2>their stoken horse, for sure. Yeah, absolutely, I've I've reprinted,

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<v Speaker 2>both electronically and in print printed form, all my early work, right,

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<v Speaker 2>and and I figure, why not. There are people who

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<v Speaker 2>like them, and that's that's fine with me. But doing that,

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<v Speaker 2>I've had to determine what books were mine. And there

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<v Speaker 2>was a stretch there where I engaged other people to

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<v Speaker 2>write books under my pen name. Really yes, yes, this

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<v Speaker 2>was back in the early to mid sixties. Okay, and

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<v Speaker 2>some of those, you know, I don't remember immediately if

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<v Speaker 2>I've written them or not. But it never takes more

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<v Speaker 2>than reading a page, you know, for me to know

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<v Speaker 2>what it's my worthy or no.

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<v Speaker 1>Yeah, I suppose if you if your output is it

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<v Speaker 1>like it's a fairly prolific output.

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<v Speaker 2>You can't remember all that.

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<v Speaker 1>I look at old episodes of Late Night, so was

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<v Speaker 1>if something comes up from my old Late night show

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<v Speaker 1>on the internet, I'm like, I have no recollection of that.

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<v Speaker 2>None. I remember most of them, But there were stretches

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<v Speaker 2>late in the game, in say nineteen sixty four or so,

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<v Speaker 2>when I there was one time when my second daughter,

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<v Speaker 2>my daughter Jill, was born and I had to pay

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<v Speaker 2>the abstetrician. This was long enough ago so that people

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<v Speaker 2>did not routinely have insurance and so that you could

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<v Speaker 2>live without it. Yeah right, Yeah, So I had to

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<v Speaker 2>come up with one thousand dollars to pay the abstetrician. Now,

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<v Speaker 2>of course that would be the Copey right if you

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<v Speaker 2>had really excellent, excellent coverage. Yeah. So I called my

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<v Speaker 2>agent and I said, how can I earn a thousand

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<v Speaker 2>dollars in a hurry because I want to pay this

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<v Speaker 2>fellow's bill. And he said, well, I think Bill Hamling,

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<v Speaker 2>who was a publisher of mine on outfit called Nightstand Books.

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<v Speaker 2>He said, I'm sure he'd take an extra book for

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<v Speaker 2>me this month. So I found three days and wrote it.

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<v Speaker 2>You know what booking three days I did? Was any good?

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<v Speaker 2>I have no idea.

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<v Speaker 1>Were you taking any stimulants?

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<v Speaker 2>It was the sixties. No, I did occasionally, but not then.

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<v Speaker 2>It was a little later there that I started using

0:14:54.320 --> 0:14:58.480
<v Speaker 2>dexamil occasionally when I wrote. But this time I wasn't

0:14:58.600 --> 0:15:04.920
<v Speaker 2>using any stimulants, and I just I just went to

0:15:04.960 --> 0:15:11.600
<v Speaker 2>the office and typed for about eight hours the first day,

0:15:11.600 --> 0:15:14.240
<v Speaker 2>and about eight hours the second day, in about five

0:15:14.360 --> 0:15:16.320
<v Speaker 2>or six hours the third day, and then the book

0:15:16.440 --> 0:15:21.880
<v Speaker 2>was done. That's amazing. By twenty minutes after the book

0:15:22.040 --> 0:15:24.400
<v Speaker 2>was done, I'd forgotten the names of all the characters.

0:15:24.440 --> 0:15:28.080
<v Speaker 2>I mean, they didn't they didn't occupy space in my

0:15:28.200 --> 0:15:30.520
<v Speaker 2>head for very much time. There was no way to

0:15:30.560 --> 0:15:32.880
<v Speaker 2>remember that. It's do you remember the name of the book,

0:15:32.880 --> 0:15:34.320
<v Speaker 2>because I'd like to read it. I don't know which

0:15:34.320 --> 0:15:35.960
<v Speaker 2>one that was, Oh, because I.

0:15:35.920 --> 0:15:38.760
<v Speaker 1>Feel like that would be a fascinating kind of almost

0:15:38.800 --> 0:15:42.440
<v Speaker 1>like automatic writing, you know, the old spiritualist automatic writing

0:15:42.520 --> 0:15:44.160
<v Speaker 1>thing that I mean, be kind of a.

0:15:44.120 --> 0:15:48.840
<v Speaker 2>Real in them were written at not at that speed,

0:15:48.960 --> 0:15:53.560
<v Speaker 2>but frequently in a week. I find that fascinating because

0:15:53.560 --> 0:15:57.440
<v Speaker 2>they're especially the detective books in particular, are very complicated.

0:15:57.480 --> 0:16:05.920
<v Speaker 2>The police were not detected right right. Hello, this is

0:16:05.960 --> 0:16:07.360
<v Speaker 2>Craig Ferguson.

0:16:07.360 --> 0:16:08.760
<v Speaker 1>And I want to let you know I have a

0:16:08.760 --> 0:16:11.800
<v Speaker 1>brand new stand up comedy special out now on YouTube.

0:16:12.120 --> 0:16:15.520
<v Speaker 1>It's called I'm So Happy, and I would be so

0:16:15.760 --> 0:16:18.800
<v Speaker 1>happy if you checked it out. To watch the special,

0:16:18.920 --> 0:16:21.520
<v Speaker 1>just go to my YouTube channel at the Craig Ferguson

0:16:21.560 --> 0:16:24.280
<v Speaker 1>Show and is this right there? Just click it and

0:16:24.320 --> 0:16:25.920
<v Speaker 1>play it and it's free.

0:16:26.320 --> 0:16:26.960
<v Speaker 2>I can't look.

0:16:26.960 --> 0:16:28.280
<v Speaker 1>I'm not going to come around your house and show

0:16:28.280 --> 0:16:29.600
<v Speaker 1>you how to do it. If you can't do it,

0:16:29.640 --> 0:16:31.160
<v Speaker 1>then you can't have it. But if you can figure

0:16:31.200 --> 0:16:40.800
<v Speaker 1>it out, it's yours. You have a very emotive style,

0:16:40.840 --> 0:16:44.480
<v Speaker 1>though even even Bernie first, I it was a mistaken

0:16:44.520 --> 0:16:48.160
<v Speaker 1>identity for me with Bernie Roden bar at first because

0:16:48.160 --> 0:16:49.560
<v Speaker 1>I thought there was no depth to that, and there's

0:16:49.560 --> 0:16:52.800
<v Speaker 1>an extreme amount of depth in Bernie, and I feel

0:16:52.840 --> 0:16:59.760
<v Speaker 1>like that You're very emotive as a writer. There's big sweeps,

0:16:59.760 --> 0:17:02.400
<v Speaker 1>big human emotions in there. I remember in particular, Actually,

0:17:02.840 --> 0:17:05.080
<v Speaker 1>what was the small town? The one you wrote after

0:17:05.160 --> 0:17:10.520
<v Speaker 1>nine to eleven? Is an extremely almost like you were

0:17:10.520 --> 0:17:12.600
<v Speaker 1>heartbroken when you wrote that book or something, or you

0:17:12.600 --> 0:17:13.320
<v Speaker 1>were terrified.

0:17:13.359 --> 0:17:17.399
<v Speaker 2>That kind of was. Yeah, that was That was a

0:17:19.720 --> 0:17:24.720
<v Speaker 2>time that imprinted itself rather deeply on one's consciousness. Were

0:17:24.720 --> 0:17:27.080
<v Speaker 2>you in New York, Georgiana eleven? Did you see it

0:17:27.119 --> 0:17:31.080
<v Speaker 2>all happened? Yes? Actually we were in the line of sight, yeah,

0:17:31.119 --> 0:17:35.040
<v Speaker 2>because you're downtown. Yeah, yeah, on the high floor we saw.

0:17:36.320 --> 0:17:40.879
<v Speaker 1>And that book. Did that book happen in the aftermath

0:17:40.920 --> 0:17:42.879
<v Speaker 1>of nine to eleven? Was it like in the space

0:17:42.920 --> 0:17:44.119
<v Speaker 1>of weeks, months, days.

0:17:44.359 --> 0:17:46.639
<v Speaker 2>It was a curious thing because it was a book

0:17:46.680 --> 0:17:51.040
<v Speaker 2>that I had started before that, right, and I'd written

0:17:52.160 --> 0:17:58.359
<v Speaker 2>a chunk of it, introducing several of the couple of

0:17:58.359 --> 0:18:01.080
<v Speaker 2>the characters. I probably wrote about it and twenty pages

0:18:01.520 --> 0:18:05.840
<v Speaker 2>of it before, and then after nine to eleven, I thought, well,

0:18:05.880 --> 0:18:11.360
<v Speaker 2>I can throw this away because the world had changed

0:18:11.440 --> 0:18:15.120
<v Speaker 2>in some fundamental ways, and certainly the city had changed.

0:18:16.640 --> 0:18:25.560
<v Speaker 2>And a little time passed, and sometime I think it

0:18:25.800 --> 0:18:33.960
<v Speaker 2>was in the spring of two thousand and two, so

0:18:34.359 --> 0:18:40.400
<v Speaker 2>maybe six months after after I thought about it, and

0:18:40.480 --> 0:18:46.560
<v Speaker 2>I thought, because what my object there was to write,

0:18:46.840 --> 0:18:53.280
<v Speaker 2>for the first time for me, a big, multiple viewpoint

0:18:53.400 --> 0:18:56.200
<v Speaker 2>now bill set in New York, with as much of

0:18:56.240 --> 0:19:04.920
<v Speaker 2>New York as I could fit in it. I thought, gee,

0:19:05.440 --> 0:19:15.119
<v Speaker 2>I could still do this. I would probably want to

0:19:15.160 --> 0:19:19.920
<v Speaker 2>rewrite almost everything in the beginning portion, but there's there

0:19:19.920 --> 0:19:24.280
<v Speaker 2>are scenes there that work, and there are characters who

0:19:24.600 --> 0:19:29.560
<v Speaker 2>I find interesting. And I thought, I don't want to

0:19:29.600 --> 0:19:33.479
<v Speaker 2>write a book in which nine to eleven happens. I

0:19:33.520 --> 0:19:42.000
<v Speaker 2>want to write an aftermath book. And and did and

0:19:42.119 --> 0:19:50.800
<v Speaker 2>it it was no to what extent the book succeeds

0:19:50.880 --> 0:19:51.400
<v Speaker 2>or fails?

0:19:51.480 --> 0:19:55.119
<v Speaker 1>I don't know. I rarely know with my own stuff.

0:19:55.160 --> 0:19:57.919
<v Speaker 1>But what would that? What's the metric you use for that?

0:19:58.040 --> 0:20:00.000
<v Speaker 1>How do you know if a book succeeds or failed?

0:20:00.640 --> 0:20:02.040
<v Speaker 2>I don't.

0:20:02.560 --> 0:20:05.560
<v Speaker 1>So once you write it, it's done. It is what

0:20:05.600 --> 0:20:07.720
<v Speaker 1>it is, and there's no kind of judgment on it.

0:20:10.440 --> 0:20:17.120
<v Speaker 2>There isn't really no I you know, I want them

0:20:17.160 --> 0:20:19.640
<v Speaker 2>to do well. Sure, you want to do a real

0:20:20.000 --> 0:20:26.399
<v Speaker 2>justice and may be well received. That's incidentally brings to

0:20:26.520 --> 0:20:33.919
<v Speaker 2>mind a very interesting effective the retirement of not doing

0:20:33.920 --> 0:20:38.320
<v Speaker 2>this anymore. Okay, And it's not just that I'm not

0:20:38.640 --> 0:20:45.680
<v Speaker 2>writing anymore. But that I'm detached from the whole career

0:20:46.920 --> 0:20:50.440
<v Speaker 2>in a way I wouldn't have anticipated. Is that product

0:20:50.440 --> 0:20:55.359
<v Speaker 2>of aging? Do you think everything in my existence is

0:20:55.440 --> 0:20:59.639
<v Speaker 2>so one way or another product of aging? But also

0:20:59.760 --> 0:21:08.560
<v Speaker 2>it's no, it's part of it is that my life

0:21:08.640 --> 0:21:14.840
<v Speaker 2>as a writer feels like a closed chapter. Right. And

0:21:15.680 --> 0:21:19.120
<v Speaker 2>I'm very grateful that I got to spend those years

0:21:19.160 --> 0:21:22.720
<v Speaker 2>doing that, like sixty five years, right, yeah, And I'm

0:21:22.880 --> 0:21:25.640
<v Speaker 2>very grateful that I got to write all those books,

0:21:25.680 --> 0:21:33.760
<v Speaker 2>the good, the bad, and the indifferent. But but I'm

0:21:34.560 --> 0:21:38.560
<v Speaker 2>detached from them in an odd way. I don't too

0:21:38.640 --> 0:21:46.040
<v Speaker 2>much care now what anybody thinks to them. I know

0:21:46.480 --> 0:21:56.719
<v Speaker 2>they won't outlast my lifetime by any substantial margin. Nobody's due, really,

0:21:57.400 --> 0:22:02.000
<v Speaker 2>and I don't know. And that's fine. The thing, the

0:22:02.119 --> 0:22:05.320
<v Speaker 2>thing is, that's that's fine. It kind of I kind

0:22:05.320 --> 0:22:06.919
<v Speaker 2>of feeled with with a book.

0:22:07.000 --> 0:22:09.880
<v Speaker 1>I remember because the first time when I the first

0:22:09.880 --> 0:22:13.600
<v Speaker 1>book I wrote, I remember you were very very.

0:22:13.640 --> 0:22:15.600
<v Speaker 2>Kindly read an early draft of.

0:22:15.640 --> 0:22:21.280
<v Speaker 1>It and and you let it was interesting because it's

0:22:21.280 --> 0:22:24.720
<v Speaker 1>a it's the only novel I've written so far, and

0:22:25.880 --> 0:22:28.840
<v Speaker 1>it's an unusual book. And you said, it's an unusual book,

0:22:28.880 --> 0:22:30.879
<v Speaker 1>and you sent me a copy of a book that

0:22:31.080 --> 0:22:34.560
<v Speaker 1>you had written years and years ago, which is also

0:22:34.600 --> 0:22:35.040
<v Speaker 1>a very.

0:22:34.920 --> 0:22:39.960
<v Speaker 2>Unusual book called The Long Walk, The Random Walk. Random Walk.

0:22:40.000 --> 0:22:44.480
<v Speaker 1>That's right, and random Walk is such a weird, out

0:22:44.560 --> 0:22:48.159
<v Speaker 1>of time, out of style book for you.

0:22:48.760 --> 0:22:50.920
<v Speaker 2>I know what was going on with that?

0:22:51.000 --> 0:22:53.840
<v Speaker 1>I mean, it's a very it's almost like magical realism

0:22:53.920 --> 0:22:55.120
<v Speaker 1>or something going on in there.

0:22:55.600 --> 0:23:00.520
<v Speaker 2>It was something, it was. It was a very strange experience. Yeah,

0:23:01.440 --> 0:23:06.119
<v Speaker 2>Lynna and I had gone on our first really adventurous trip.

0:23:06.400 --> 0:23:10.800
<v Speaker 2>We went uh on a trip that was under the

0:23:10.840 --> 0:23:15.760
<v Speaker 2>auspices of the Institute for the Advancement or something of

0:23:15.800 --> 0:23:18.399
<v Speaker 2>no Weddics Sciences, whatever the hell it was it was.

0:23:19.400 --> 0:23:25.000
<v Speaker 2>It was it was an outfit founded by Edgar Mitchell

0:23:25.040 --> 0:23:28.119
<v Speaker 2>when he came back from the moon. What isdics science?

0:23:28.320 --> 0:23:32.520
<v Speaker 2>I don't know, Okay, I forget. It's fine. Somebody in

0:23:32.560 --> 0:23:36.560
<v Speaker 2>the internet, right, I at one point could have supplied

0:23:37.600 --> 0:23:41.040
<v Speaker 2>a definition of the word. But it's it's remarkable enough

0:23:41.080 --> 0:23:43.760
<v Speaker 2>that I can recall the word any idea. What nouetics

0:23:43.800 --> 0:23:48.360
<v Speaker 2>science is? Yeah, all right, okay.

0:23:48.119 --> 0:23:51.720
<v Speaker 1>So disciplinary study that brings scientific tools and techniques together

0:23:52.200 --> 0:23:56.720
<v Speaker 1>to basically solve the subjective inner knowing study of nature

0:23:56.720 --> 0:23:57.280
<v Speaker 1>of reality.

0:23:58.040 --> 0:24:02.719
<v Speaker 2>There we are, there we go, there we are. Anyway,

0:24:02.440 --> 0:24:06.840
<v Speaker 2>they had this trip to Africa, right, that's where you go,

0:24:07.080 --> 0:24:11.240
<v Speaker 2>with just about just about eight or ten of us

0:24:11.280 --> 0:24:15.080
<v Speaker 2>on the whole trip, and we started. We spent a

0:24:15.080 --> 0:24:19.040
<v Speaker 2>lot of time in Togo, and one thing we did

0:24:19.080 --> 0:24:27.560
<v Speaker 2>in Togo was we met with a fellow named Akoite,

0:24:28.000 --> 0:24:33.440
<v Speaker 2>who was I think he had a German father and

0:24:34.320 --> 0:24:38.600
<v Speaker 2>Togule's mother, and he'd grown up there. He'd gone to

0:24:38.840 --> 0:24:43.600
<v Speaker 2>school some in Germany and at the Sorbonne he qualified

0:24:43.640 --> 0:24:47.640
<v Speaker 2>as a doctor. He decided that that wasn't really where

0:24:47.680 --> 0:24:57.919
<v Speaker 2>he was, and he became this spiritual healer and conductor

0:24:57.960 --> 0:25:04.960
<v Speaker 2>of Voodo type ceremonies in Lomay in Togo. And we

0:25:05.040 --> 0:25:08.560
<v Speaker 2>met him and he was a powerful personality and he

0:25:09.280 --> 0:25:13.159
<v Speaker 2>did this whole thing with Afterward, one of the things

0:25:13.280 --> 0:25:18.320
<v Speaker 2>I'd sort of hoped for was that a new direction

0:25:18.440 --> 0:25:22.600
<v Speaker 2>in my writing would come out of this. Okay, so

0:25:23.800 --> 0:25:26.800
<v Speaker 2>it ended, and then we went to other places in Africa.

0:25:26.880 --> 0:25:29.720
<v Speaker 2>We went to Cote d'avoir and we went to Mali.

0:25:29.840 --> 0:25:33.840
<v Speaker 2>We had a good time, and we came home and

0:25:34.880 --> 0:25:40.720
<v Speaker 2>I had booked a session a space at a writer's colony,

0:25:41.080 --> 0:25:43.880
<v Speaker 2>the first time I'd ever done that, or retreat where

0:25:43.920 --> 0:25:46.480
<v Speaker 2>you can go for two weeks or a month or

0:25:46.560 --> 0:25:49.479
<v Speaker 2>whatever whatever it is, and what do you do. You like,

0:25:49.520 --> 0:25:51.640
<v Speaker 2>you hang with other writers, or you hang with other

0:25:51.680 --> 0:25:55.280
<v Speaker 2>writers to whatever extent you want. But what it mostly

0:25:55.440 --> 0:25:58.480
<v Speaker 2>is is that they supply a room for you to

0:25:58.560 --> 0:26:02.000
<v Speaker 2>work in, a room for you to and three meals

0:26:02.040 --> 0:26:07.560
<v Speaker 2>a day, and you go there to work. So I've

0:26:07.800 --> 0:26:11.719
<v Speaker 2>met some people I've become very fond of at Reuter's colonies,

0:26:12.240 --> 0:26:16.159
<v Speaker 2>but that was never the point. The point always is

0:26:16.240 --> 0:26:19.120
<v Speaker 2>to go there to work. And I had the spacebook,

0:26:19.200 --> 0:26:21.560
<v Speaker 2>and I thought, I have to go there. It's my

0:26:21.680 --> 0:26:24.600
<v Speaker 2>first time at a colony. What the hell am I

0:26:24.640 --> 0:26:29.119
<v Speaker 2>going to write? And I thought, well, there was a

0:26:30.840 --> 0:26:34.760
<v Speaker 2>Burglar book I sort of had in mind. Had you

0:26:34.800 --> 0:26:38.040
<v Speaker 2>started the Bernie series. Oh yeah, the Bernie series had

0:26:38.080 --> 0:26:44.919
<v Speaker 2>gone on for a while. This would have been seventy seven. Okay, no,

0:26:45.080 --> 0:26:47.920
<v Speaker 2>pardon me, this would have been eighty seven. Okay, yeah.

0:26:48.720 --> 0:26:55.120
<v Speaker 2>And I so I thought it would be nice if

0:26:55.160 --> 0:26:58.600
<v Speaker 2>there was something else that I could write that I

0:26:58.680 --> 0:27:03.920
<v Speaker 2>had more firmly mind. And I was sitting one day,

0:27:03.960 --> 0:27:07.600
<v Speaker 2>we were living in Florida at the time, and I

0:27:07.800 --> 0:27:17.200
<v Speaker 2>suddenly had this vision of people walking through the mountains.

0:27:17.280 --> 0:27:26.320
<v Speaker 2>Of course whatever, and bits and pieces started coming to

0:27:26.359 --> 0:27:33.080
<v Speaker 2>me over the next several days, and I thought, well,

0:27:34.320 --> 0:27:37.600
<v Speaker 2>you know, I don't have a book here, because this

0:27:37.680 --> 0:27:41.399
<v Speaker 2>is a complicated book, but maybe I've got enough of

0:27:41.480 --> 0:27:45.040
<v Speaker 2>a beginning so that i can spend my time at

0:27:45.040 --> 0:27:50.720
<v Speaker 2>the colony roughing it out, you know, making some sort

0:27:50.720 --> 0:27:56.720
<v Speaker 2>of outline. And it was about two weeks from that

0:27:56.880 --> 0:28:00.439
<v Speaker 2>time that I drove up to the car. He was

0:28:00.480 --> 0:28:08.640
<v Speaker 2>in Virginia, and I'd been thinking about the book throughout,

0:28:09.880 --> 0:28:13.600
<v Speaker 2>and it wasn't so exactly that I'd been thinking about

0:28:13.640 --> 0:28:21.959
<v Speaker 2>it as things were coming to me. And I got

0:28:22.480 --> 0:28:26.119
<v Speaker 2>to the colony, I was assigned my room, I was

0:28:26.160 --> 0:28:30.920
<v Speaker 2>assigned my office, and I went to sleep. I got

0:28:31.000 --> 0:28:37.040
<v Speaker 2>up the next day, I went to my office and

0:28:37.119 --> 0:28:42.120
<v Speaker 2>I wrote twenty pages of a novel. And I did

0:28:42.160 --> 0:28:46.280
<v Speaker 2>that every day for the next twenty three days. I'll

0:28:46.280 --> 0:28:50.680
<v Speaker 2>do it twenty pages a day. It's a low. Every

0:28:50.800 --> 0:28:55.680
<v Speaker 2>day I woke up knowing what would happen in the

0:28:55.720 --> 0:28:59.680
<v Speaker 2>book that day, still not necessarily the day after that,

0:29:00.360 --> 0:29:05.920
<v Speaker 2>and and when I was done that was under walk

0:29:06.320 --> 0:29:09.880
<v Speaker 2>I've never had an experience at all like that before

0:29:10.280 --> 0:29:10.800
<v Speaker 2>or since.

0:29:10.920 --> 0:29:13.280
<v Speaker 1>It's an interesting thing. And it's funny because you the

0:29:13.320 --> 0:29:16.040
<v Speaker 1>way you describe it. The novel that I'm talking about

0:29:16.080 --> 0:29:17.960
<v Speaker 1>that you were there, it was called Between the Bridge

0:29:18.000 --> 0:29:20.520
<v Speaker 1>and the River that I wrote, it's a very similar experience.

0:29:20.560 --> 0:29:24.560
<v Speaker 2>I would wake up in the morning not knowing what

0:29:24.680 --> 0:29:27.600
<v Speaker 2>was going to happen, but interested to find out. Uh huh.

0:29:27.640 --> 0:29:30.720
<v Speaker 1>And so I would have these characters and there was

0:29:30.800 --> 0:29:33.800
<v Speaker 1>disparate plot lines, and I was like, I wonder, what's

0:29:33.840 --> 0:29:35.840
<v Speaker 1>going to happen today, and I would write it down

0:29:35.920 --> 0:29:36.560
<v Speaker 1>to find out.

0:29:36.720 --> 0:29:38.000
<v Speaker 2>Yeah, And it was an.

0:29:37.840 --> 0:29:41.080
<v Speaker 1>Odd excuse me, an oddensation of not having planned out

0:29:41.160 --> 0:29:41.520
<v Speaker 1>the book.

0:29:41.640 --> 0:29:43.040
<v Speaker 2>Yeah, at the end of it.

0:29:43.080 --> 0:29:48.760
<v Speaker 1>Because anything I've written since then has been autobiographical or anecdotal,

0:29:49.360 --> 0:29:51.640
<v Speaker 1>with the exception of a short story I wrote for

0:29:51.680 --> 0:29:56.760
<v Speaker 1>you for that Edward Hopper collection and the so I

0:29:56.800 --> 0:29:59.040
<v Speaker 1>know what happens because I was there when it happened,

0:29:59.080 --> 0:30:01.560
<v Speaker 1>you know, and elaborate the story, or if I tell

0:30:01.560 --> 0:30:03.600
<v Speaker 1>a little bit of this and that about it doesn't

0:30:03.600 --> 0:30:05.400
<v Speaker 1>really you know. It's it's me doing what I want

0:30:05.400 --> 0:30:07.800
<v Speaker 1>to do as I embellish a story which I know

0:30:07.880 --> 0:30:11.280
<v Speaker 1>has already happened, but I didn't have that experience with

0:30:11.480 --> 0:30:13.920
<v Speaker 1>that book. It was it was a very odd thing.

0:30:14.560 --> 0:30:15.440
<v Speaker 2>And I talked to.

0:30:17.080 --> 0:30:22.120
<v Speaker 1>Stephen King about that experience and he said that he

0:30:22.560 --> 0:30:27.240
<v Speaker 1>when he was writing The Shining he was also getting

0:30:27.480 --> 0:30:28.720
<v Speaker 1>sober at the same time.

0:30:30.000 --> 0:30:30.600
<v Speaker 2>I didn't know that.

0:30:30.880 --> 0:30:33.960
<v Speaker 1>Yeah, And it was very interesting because you go back

0:30:34.000 --> 0:30:37.280
<v Speaker 1>and read that book with him just flippantly saying at

0:30:37.280 --> 0:30:39.120
<v Speaker 1>the time, I was getting sober at that time, having

0:30:39.160 --> 0:30:41.280
<v Speaker 1>gone through getting sober myself, and I know you were

0:30:41.320 --> 0:30:45.120
<v Speaker 1>sober doing that that that it's like it takes on

0:30:45.200 --> 0:30:48.080
<v Speaker 1>a completely different perspective.

0:30:48.400 --> 0:30:50.400
<v Speaker 2>Even looking at the movie, which I don't think he likes,

0:30:50.440 --> 0:30:54.280
<v Speaker 2>but the it's all very different. If you look at

0:30:54.360 --> 0:30:55.160
<v Speaker 2>the lens through.

0:30:55.080 --> 0:31:00.720
<v Speaker 1>The Monster of of Alcoholism, it's like, oh my god. Yeah, yeah,

0:31:00.840 --> 0:31:05.200
<v Speaker 1>it's fascinating. But he said about that that he felt

0:31:05.240 --> 0:31:09.800
<v Speaker 1>there was all this stuffie waiting to get through and

0:31:09.840 --> 0:31:12.960
<v Speaker 1>he just had to kind of get it through for

0:31:13.040 --> 0:31:14.880
<v Speaker 1>that book. I thought it was a fascinating way to

0:31:14.880 --> 0:31:17.680
<v Speaker 1>look at it. I wonder how often that happens to people,

0:31:17.720 --> 0:31:20.120
<v Speaker 1>even like if you write two hundred and ten books,

0:31:20.160 --> 0:31:22.960
<v Speaker 1>wherever it is, and it's happened to you, once that way.

0:31:24.760 --> 0:31:28.680
<v Speaker 2>I frequently don't know where I most of the time

0:31:28.760 --> 0:31:31.200
<v Speaker 2>don't know when I started a book exactly where it's

0:31:31.240 --> 0:31:34.840
<v Speaker 2>going to go when it evowws. But this was as

0:31:35.000 --> 0:31:38.400
<v Speaker 2>close as I ever came to having, oh, what you

0:31:38.520 --> 0:31:42.280
<v Speaker 2>might call a channeled book. Right. It's not as though

0:31:42.320 --> 0:31:45.720
<v Speaker 2>I felt this felt like I was taking celestial dictation.

0:31:45.880 --> 0:31:48.160
<v Speaker 2>It was very clear to me that I was making

0:31:48.520 --> 0:31:53.520
<v Speaker 2>the choices and everything else. It was somehow categorically different

0:31:53.600 --> 0:32:04.680
<v Speaker 2>from other writing experiences I've had. It gave me like you're.

0:32:04.520 --> 0:32:08.600
<v Speaker 1>Talking about the Nouetic Science trip to Africa, and clearly

0:32:08.640 --> 0:32:11.160
<v Speaker 1>there was there was some kind of you were, uh,

0:32:11.720 --> 0:32:14.960
<v Speaker 1>you know, I'm gonna say it sounds dismissive, but but

0:32:14.960 --> 0:32:18.040
<v Speaker 1>but you were, you know, in some kind of spiritual

0:32:18.120 --> 0:32:20.960
<v Speaker 1>search at that point in your life. Yeah, is that,

0:32:22.560 --> 0:32:25.880
<v Speaker 1>you know if I was. But it worked certainly worked

0:32:25.920 --> 0:32:29.000
<v Speaker 1>out that way. I was the process.

0:32:28.640 --> 0:32:32.320
<v Speaker 2>Of that translate state. Where there were there stimulants, where

0:32:32.360 --> 0:32:35.400
<v Speaker 2>the drugs were. There were there was alcoholic a verbal

0:32:35.560 --> 0:32:38.680
<v Speaker 2>thing to take, but it didn't feel that it was

0:32:41.400 --> 0:32:48.320
<v Speaker 2>a drug experience. And there were lots of people's around

0:32:48.480 --> 0:32:53.400
<v Speaker 2>in there and dancing and things like that. It's hard

0:32:53.440 --> 0:32:59.880
<v Speaker 2>for me to remember of that clearly. But in ways

0:33:00.040 --> 0:33:07.320
<v Speaker 2>it was transformational. Lynn had had not a delusion, but

0:33:07.760 --> 0:33:16.280
<v Speaker 2>a sense for years that just out of the corner,

0:33:16.400 --> 0:33:19.760
<v Speaker 2>in the corner of her eyes, there would be a

0:33:19.840 --> 0:33:21.000
<v Speaker 2>huge snake.

0:33:21.760 --> 0:33:25.200
<v Speaker 1>Okay, and she knew, like in her life, she was

0:33:25.240 --> 0:33:26.600
<v Speaker 1>thinking that all the time.

0:33:27.400 --> 0:33:31.160
<v Speaker 2>Frequently what happened, she knew it wasn't there, right, you know.

0:33:31.320 --> 0:33:36.080
<v Speaker 2>She was never like directional or anything, but she just

0:33:36.160 --> 0:33:42.360
<v Speaker 2>had the sense of a presence, you know. And so

0:33:42.400 --> 0:33:53.920
<v Speaker 2>she mentioned that to a Quoite, and he said, you know,

0:33:54.120 --> 0:33:59.120
<v Speaker 2>he gave her something. He said, take this and participate

0:33:59.160 --> 0:34:08.000
<v Speaker 2>in the ceremony, and you will possess the snake, the serpent,

0:34:08.520 --> 0:34:15.480
<v Speaker 2>the power whatever. So she did, and and she never

0:34:15.560 --> 0:34:19.320
<v Speaker 2>had the sense that there was a snake again. Yeah,

0:34:19.640 --> 0:34:23.600
<v Speaker 2>and she did feel a kind of empowerment after that

0:34:23.800 --> 0:34:28.240
<v Speaker 2>she realized that she hadn't before. So I'm I'm willing

0:34:28.280 --> 0:34:31.600
<v Speaker 2>to believe that he did things, you know, I keep

0:34:31.640 --> 0:34:34.080
<v Speaker 2>an up in mind about it. I wrote a story,

0:34:35.680 --> 0:34:39.720
<v Speaker 2>the hell did I call it? I wrote a story

0:34:39.760 --> 0:34:46.560
<v Speaker 2>in which there's a character like based on a Quoite.

0:34:46.760 --> 0:34:51.839
<v Speaker 2>I hardly ever pattern characters after specific people, but here

0:34:51.880 --> 0:34:56.440
<v Speaker 2>I felt comfortable doing it. I called him a twilee

0:34:56.600 --> 0:35:00.600
<v Speaker 2>I think in that and again it's set in Loma

0:35:00.800 --> 0:35:08.840
<v Speaker 2>in Togo, and it's sort of a a piece of

0:35:08.960 --> 0:35:15.920
<v Speaker 2>spy fiction somewhat, but it's in a big collection enough Rope.

0:35:16.520 --> 0:35:19.600
<v Speaker 2>I'll send you an ephile of the story.

0:35:19.680 --> 0:35:22.879
<v Speaker 1>Yeah, I must have read, because the given enough Rope,

0:35:22.920 --> 0:35:25.040
<v Speaker 1>I've I've read that collection.

0:35:25.360 --> 0:35:31.439
<v Speaker 2>Yeah, but but in context it might be yeah, yeah,

0:35:31.440 --> 0:35:32.000
<v Speaker 2>I'll send that.

0:35:32.280 --> 0:35:34.200
<v Speaker 1>You know, one of that springs to mind as well.

0:35:34.480 --> 0:35:36.360
<v Speaker 1>And I think this might this might be a story

0:35:36.400 --> 0:35:39.920
<v Speaker 1>that's in that collection, The Merciful Angel of Death.

0:35:40.640 --> 0:35:44.320
<v Speaker 2>The Yeah, that was a scudder story, right.

0:35:44.160 --> 0:35:46.760
<v Speaker 1>And it was in the It was a scudder short

0:35:46.760 --> 0:35:50.320
<v Speaker 1>story though, right, And it was the kind of fascinating

0:35:51.000 --> 0:35:55.120
<v Speaker 1>look at a period. And that's why I think your

0:35:55.840 --> 0:36:00.719
<v Speaker 1>your idea that that the canon of your work will

0:36:00.760 --> 0:36:04.320
<v Speaker 1>not outlast you by much is perhaps not as accurate

0:36:04.920 --> 0:36:07.560
<v Speaker 1>as you think it is from my perspective, because there

0:36:07.600 --> 0:36:12.640
<v Speaker 1>is a huge sweep of time. You know, those sixty

0:36:12.680 --> 0:36:17.120
<v Speaker 1>five years that you documented some very you know, profound

0:36:17.160 --> 0:36:20.080
<v Speaker 1>moments in the history of that time, the Age Crisis

0:36:20.160 --> 0:36:25.879
<v Speaker 1>nine to eleven, the changing of this city, that goes

0:36:25.920 --> 0:36:29.319
<v Speaker 1>through the life of Matt Scudder, the detective who's is

0:36:29.640 --> 0:36:33.240
<v Speaker 1>crushed by a mistake he makes, and you know, and

0:36:33.320 --> 0:36:35.760
<v Speaker 1>like it's you know, taken.

0:36:35.560 --> 0:36:37.880
<v Speaker 2>In the context in New York, and I'm amazed.

0:36:37.920 --> 0:36:42.080
<v Speaker 1>I haven't read the autobiography of Scudder because I've thought

0:36:42.080 --> 0:36:43.799
<v Speaker 1>I'd read everything, so that is a trait.

0:36:43.920 --> 0:36:47.080
<v Speaker 2>But I will send, I will send you. Do e

0:36:47.200 --> 0:36:48.919
<v Speaker 2>books work for you? Yeah?

0:36:49.000 --> 0:36:54.160
<v Speaker 1>Yeah, I actually read a kindle, Yeah.

0:36:53.280 --> 0:36:56.640
<v Speaker 2>I will. I will send all those. Do you self

0:36:56.680 --> 0:36:58.200
<v Speaker 2>publish this stuff? Now? Yeah?

0:36:58.600 --> 0:37:01.000
<v Speaker 1>I think more and more I talk to authors like, yeah,

0:37:01.200 --> 0:37:02.799
<v Speaker 1>why would I bother with?

0:37:03.560 --> 0:37:10.000
<v Speaker 2>Yeah, you know, the big publishing industry now, I think

0:37:10.680 --> 0:37:17.959
<v Speaker 2>may do a good job with commercially important books. But

0:37:18.239 --> 0:37:21.000
<v Speaker 2>on a level that I that I don't play it

0:37:21.160 --> 0:37:24.920
<v Speaker 2>anywhere or doing it. And I just found it so

0:37:25.160 --> 0:37:30.480
<v Speaker 2>much simpler and more straightforward and everything to publish the

0:37:30.520 --> 0:37:36.040
<v Speaker 2>books myself. And that way, you know, they don't you

0:37:36.440 --> 0:37:38.640
<v Speaker 2>don't make much money that way, But you don't make

0:37:38.760 --> 0:37:41.920
<v Speaker 2>much money anyway, no, I know. It's kind of a

0:37:42.600 --> 0:37:43.319
<v Speaker 2>it's kind of a.

0:37:43.239 --> 0:37:49.320
<v Speaker 1>Thing though, that it has rewards, because listen, I think

0:37:50.040 --> 0:37:52.239
<v Speaker 1>I made as much on that novel as i'd make

0:37:52.320 --> 0:37:54.400
<v Speaker 1>for a Wednesday night in a casino in Ohio.

0:37:54.520 --> 0:37:55.080
<v Speaker 2>You know what I mean.

0:37:55.120 --> 0:37:59.880
<v Speaker 1>But it's but I don't remember the Wednesday Night casino.

0:38:00.280 --> 0:38:03.680
<v Speaker 2>I remember the journey on the novel. It's a difference.

0:38:03.760 --> 0:38:06.879
<v Speaker 1>So no, And it's hard sometimes, especially when I think

0:38:06.920 --> 0:38:09.880
<v Speaker 1>when you're young and you want to make your bones

0:38:09.920 --> 0:38:12.720
<v Speaker 1>and maybe I'm just being for myself, but it's hard

0:38:13.640 --> 0:38:16.160
<v Speaker 1>to appreciate it, or it was for me, hard to

0:38:16.200 --> 0:38:21.880
<v Speaker 1>appreciate the value of something that had no real intrinsic

0:38:22.360 --> 0:38:24.680
<v Speaker 1>financial value.

0:38:25.040 --> 0:38:26.560
<v Speaker 2>And I remember you said, you and I.

0:38:26.520 --> 0:38:30.880
<v Speaker 1>Had had lunch once and I was talking about money,

0:38:32.239 --> 0:38:34.680
<v Speaker 1>and you said that because I was getting hosed down

0:38:34.719 --> 0:38:36.439
<v Speaker 1>with it at the time. I remember it was during

0:38:36.480 --> 0:38:38.480
<v Speaker 1>the end of late night and all that kind of stuff.

0:38:38.480 --> 0:38:40.600
<v Speaker 1>And you said, the danger of having a lot of

0:38:40.600 --> 0:38:43.040
<v Speaker 1>money coming at you is you start thinking that it's

0:38:43.120 --> 0:38:47.520
<v Speaker 1>the only thing that mars. Yeah, And it was for

0:38:47.560 --> 0:38:49.120
<v Speaker 1>a little while I thought about it, and.

0:38:50.000 --> 0:38:54.160
<v Speaker 2>It's kind of stuck with me. Do you ever do

0:38:54.200 --> 0:38:56.680
<v Speaker 2>you ever think I I.

0:38:56.719 --> 0:39:00.800
<v Speaker 1>Could have should have would have made more money, or

0:39:00.840 --> 0:39:01.800
<v Speaker 1>should have been more.

0:39:02.320 --> 0:39:05.480
<v Speaker 2>But the thing is, I've often had the thought, yeah, yeah,

0:39:05.600 --> 0:39:12.399
<v Speaker 2>because you know, I I look at my career and

0:39:15.040 --> 0:39:20.160
<v Speaker 2>there were there never were any big dramatic financial successes,

0:39:20.880 --> 0:39:24.200
<v Speaker 2>not even when the scudder sies like the Mascutter movie.

0:39:25.880 --> 0:39:30.000
<v Speaker 2>I made a decent living, but never, you know, never

0:39:31.480 --> 0:39:36.239
<v Speaker 2>there were no I think one book inched its way

0:39:36.280 --> 0:39:39.640
<v Speaker 2>onto the Times best seller list, but that's that's that's all,

0:39:40.239 --> 0:39:43.080
<v Speaker 2>you know. And lots of people whom I've known and

0:39:43.200 --> 0:39:48.240
<v Speaker 2>been friendly with, you know, have have made big money,

0:39:48.400 --> 0:39:54.200
<v Speaker 2>right ah, they keep it in proportion. Most have made nothing.

0:39:55.200 --> 0:40:02.719
<v Speaker 2>But and I've thought about that, and one thing that

0:40:03.400 --> 0:40:08.000
<v Speaker 2>struck me was that if I'd had big early success,

0:40:09.640 --> 0:40:14.400
<v Speaker 2>I'm sure I wouldn't have kept writing for sixty five years. Yeah. Yeah.

0:40:14.480 --> 0:40:22.239
<v Speaker 2>And also it's hard to know how much you tell

0:40:22.280 --> 0:40:30.359
<v Speaker 2>yourself because you want to hear it. But I'm I'm

0:40:30.480 --> 0:40:33.359
<v Speaker 2>kind of I'm happy with the way things turned out.

0:40:33.480 --> 0:40:38.120
<v Speaker 2>I think I reached just about the level of success

0:40:38.239 --> 0:40:39.560
<v Speaker 2>that was best for me.

0:40:39.840 --> 0:40:44.920
<v Speaker 1>Yeah, yeah, I understand that. I think because I, especially

0:40:45.080 --> 0:40:50.920
<v Speaker 1>people like us who you know, have have taken the

0:40:51.000 --> 0:40:57.520
<v Speaker 1>kind of the alcoholic bronkle for a while, that I've

0:40:57.600 --> 0:41:02.799
<v Speaker 1>seen people who succeed so much after they get so

0:41:02.880 --> 0:41:07.360
<v Speaker 1>bored that they don't do so well with it. And

0:41:07.440 --> 0:41:10.560
<v Speaker 1>there may be I mean, there's been decisions I've made

0:41:10.560 --> 0:41:12.640
<v Speaker 1>when I thought, I don't I don't care enough about this,

0:41:13.560 --> 0:41:15.520
<v Speaker 1>and I feel like it might be dangerous and every

0:41:15.800 --> 0:41:17.760
<v Speaker 1>and there have been times when I have been achieved,

0:41:17.760 --> 0:41:21.080
<v Speaker 1>and it's usually some financial or or some kind of

0:41:21.160 --> 0:41:25.320
<v Speaker 1>kudos that makes me forget something I heard in a

0:41:26.040 --> 0:41:30.120
<v Speaker 1>meeting in Glasgow when a woman said, an old lady

0:41:30.120 --> 0:41:30.640
<v Speaker 1>said to me.

0:41:32.600 --> 0:41:34.799
<v Speaker 2>That she's probably amazing as I am now. But like

0:41:34.800 --> 0:41:35.799
<v Speaker 2>you said, but she.

0:41:35.800 --> 0:41:40.120
<v Speaker 1>Said, I son, if you forget what you are, if

0:41:40.120 --> 0:41:42.000
<v Speaker 1>you get what If you forget what you.

0:41:41.960 --> 0:41:44.920
<v Speaker 2>Are, it will not matter who you are, because you

0:41:44.960 --> 0:41:49.480
<v Speaker 2>won't be there. Like it's okay. And I think that

0:41:49.600 --> 0:41:54.600
<v Speaker 2>the idea of the success that's appropriate for what you

0:41:54.640 --> 0:41:56.879
<v Speaker 2>can handle is a nice one.

0:41:56.960 --> 0:41:59.719
<v Speaker 1>Yeah, it's a it's a way of maintaining some kind

0:41:59.719 --> 0:42:05.280
<v Speaker 1>of gratitudinal equilibrium, which is a phrase that I picked

0:42:05.360 --> 0:42:07.479
<v Speaker 1>up in my nice one.

0:42:07.640 --> 0:42:10.840
<v Speaker 2>Yeah, in my where did I get that? In the

0:42:10.960 --> 0:42:14.560
<v Speaker 2>science thing? What do we call that science thing? Nodic science?

0:42:15.600 --> 0:42:19.440
<v Speaker 1>It's my noetic science phrase, gratitude and the equilibrium.

0:42:20.040 --> 0:42:23.319
<v Speaker 2>But what about now? You said to me when we.

0:42:23.280 --> 0:42:25.920
<v Speaker 1>Were hanging around outside, you said, do you feel like

0:42:26.040 --> 0:42:28.600
<v Speaker 1>you're happier now than you've ever been?

0:42:28.680 --> 0:42:31.040
<v Speaker 2>Is that you think that's right. I think I'm having

0:42:31.080 --> 0:42:36.000
<v Speaker 2>a better time these days than I can recall, and

0:42:38.000 --> 0:42:43.440
<v Speaker 2>I'm enjoying the life I'm leading in retirement. As I

0:42:44.160 --> 0:42:47.400
<v Speaker 2>think I mentioned before, I've become an absolute gym rat.

0:42:48.080 --> 0:42:52.960
<v Speaker 2>I'm at my local gym. What do you do? You

0:42:53.000 --> 0:42:55.800
<v Speaker 2>left weights and walk around? I do. I do weights

0:42:55.920 --> 0:42:59.520
<v Speaker 2>work and I generally put in about a half hour

0:42:59.560 --> 0:43:05.880
<v Speaker 2>on the trap. Wow, and you know I'm I'm in

0:43:05.920 --> 0:43:09.080
<v Speaker 2>and out in about an hour and a half. Is

0:43:09.080 --> 0:43:13.040
<v Speaker 2>that something you get into after the old the heart thing? Oh? No,

0:43:13.280 --> 0:43:22.600
<v Speaker 2>I got into you know. I don't have many regrets,

0:43:22.640 --> 0:43:25.880
<v Speaker 2>but one thing I can find myself regretting is that

0:43:25.960 --> 0:43:30.000
<v Speaker 2>I didn't get into working with ways when I was

0:43:30.040 --> 0:43:35.560
<v Speaker 2>a teenager because I was a terrible athlete. I was

0:43:35.640 --> 0:43:40.440
<v Speaker 2>hopeless of sports and all of that. But lifting weights

0:43:40.520 --> 0:43:43.399
<v Speaker 2>that I could have done, and I think I could

0:43:43.400 --> 0:43:46.080
<v Speaker 2>have enjoyed it and stayed with it and things like that.

0:43:46.360 --> 0:43:49.560
<v Speaker 2>It is. I got into it finally when I was

0:43:49.600 --> 0:43:56.320
<v Speaker 2>about forty and and have you know there have been

0:43:56.480 --> 0:44:00.359
<v Speaker 2>times when we didn't live in a gym, or I

0:44:00.400 --> 0:44:04.280
<v Speaker 2>didn't go that frequently, but I've I've been a member

0:44:04.360 --> 0:44:11.600
<v Speaker 2>where I am now for about almost twenty five years.

0:44:12.160 --> 0:44:15.319
<v Speaker 2>I joined this gym shortly after nine to eleven, and

0:44:15.360 --> 0:44:18.040
<v Speaker 2>I'd been going to another one in the neighborhood before that,

0:44:18.480 --> 0:44:27.000
<v Speaker 2>but it closed and and I really enjoy it. You know, I.

0:44:29.160 --> 0:44:31.920
<v Speaker 1>Started lifting weights. I hadn't done it for years. I

0:44:31.960 --> 0:44:34.279
<v Speaker 1>really love the sensation of having done it.

0:44:34.600 --> 0:44:37.680
<v Speaker 2>Yes, you know that, Yes, it body feels good. It does.

0:44:37.760 --> 0:44:40.520
<v Speaker 1>It's kind of it has a kind of parcascet vibe,

0:44:40.760 --> 0:44:41.880
<v Speaker 1>you know what I mean. It's like you get to

0:44:41.960 --> 0:44:44.359
<v Speaker 1>the other end and you go, sure, I feel kind

0:44:44.400 --> 0:44:46.440
<v Speaker 1>of everything's okay, yep, yep.

0:44:46.760 --> 0:44:48.040
<v Speaker 2>You don't get high so much.

0:44:48.120 --> 0:44:51.200
<v Speaker 1>It's kind of like, oh, okay, I can handle it.

0:44:51.480 --> 0:44:53.560
<v Speaker 2>Absolutely. Also, the feeling of.

0:44:55.200 --> 0:45:00.919
<v Speaker 1>Serenity that comes after physical exhaustion, it's pretty good, true. Yeah,

0:45:01.239 --> 0:45:05.320
<v Speaker 1>And I still I find myself even now I've been sober.

0:45:05.400 --> 0:45:07.440
<v Speaker 2>You've been sober longer than me. I've been sober thirty

0:45:07.440 --> 0:45:09.520
<v Speaker 2>three years. I don't know. You've been sober like one

0:45:09.600 --> 0:45:15.160
<v Speaker 2>hundred or something, forty seven years, right, so the bard

0:45:15.520 --> 0:45:21.120
<v Speaker 2>forty forty eight years a long time. It's a long

0:45:21.160 --> 0:45:22.080
<v Speaker 2>time for anything.

0:45:22.200 --> 0:45:25.879
<v Speaker 1>Yeah, really, But you know the thing is about it

0:45:25.960 --> 0:45:27.440
<v Speaker 1>is that even now.

0:45:27.280 --> 0:45:27.920
<v Speaker 2>After all this time.

0:45:27.920 --> 0:45:29.960
<v Speaker 1>I don't know about you, like if I have to

0:45:30.000 --> 0:45:32.479
<v Speaker 1>go and get any kind of medical procedure done, which

0:45:32.760 --> 0:45:35.319
<v Speaker 1>kind of as one gets older, you know, it kind

0:45:35.320 --> 0:45:41.000
<v Speaker 1>of like clicks up when they they have that that

0:45:41.200 --> 0:45:45.160
<v Speaker 1>moment when they're going to put you under. But there's

0:45:45.200 --> 0:45:47.440
<v Speaker 1>I can see the drip in my arm and the

0:45:47.440 --> 0:45:51.160
<v Speaker 1>anistasis says, Okay, you're going to feel a little dizzy

0:45:51.239 --> 0:45:53.640
<v Speaker 1>or woozy, or you'll feel this. I want you to

0:45:53.640 --> 0:45:58.640
<v Speaker 1>count backwards. That moment when that drop goes into the

0:45:58.680 --> 0:46:00.480
<v Speaker 1>IV live.

0:46:00.400 --> 0:46:01.480
<v Speaker 2>For the fucking.

0:46:02.719 --> 0:46:06.400
<v Speaker 1>I live for that fucking moment when they say, oh,

0:46:06.400 --> 0:46:08.600
<v Speaker 1>you're going to need a scope or a thing. I'm like, okay,

0:46:08.680 --> 0:46:12.279
<v Speaker 1>is the propofile involved because I'm there, and and that

0:46:12.400 --> 0:46:14.880
<v Speaker 1>when they drop that thing, because I can't have it.

0:46:15.080 --> 0:46:16.920
<v Speaker 2>You know, I can't have it unless you know.

0:46:17.160 --> 0:46:20.080
<v Speaker 1>But but when they dropped that, I remember, I even

0:46:20.120 --> 0:46:21.759
<v Speaker 1>said to the guy. The last time I had have

0:46:21.760 --> 0:46:23.040
<v Speaker 1>done it was a couple of years ago. I said

0:46:23.040 --> 0:46:25.759
<v Speaker 1>to the anistatist. He said, okay, you're gonna I'm just

0:46:25.760 --> 0:46:28.239
<v Speaker 1>gonna drop the sanamony. You count backwards and actually the

0:46:28.320 --> 0:46:31.840
<v Speaker 1>dropman and I said, can I stay here? Just before

0:46:31.920 --> 0:46:36.799
<v Speaker 1>I just before I left. It's funny, I still feel

0:46:36.800 --> 0:46:39.040
<v Speaker 1>the call of it, you still feel It's not the call, No,

0:46:39.120 --> 0:46:41.080
<v Speaker 1>Booze doesn't call to me, not in that kind of

0:46:41.120 --> 0:46:41.399
<v Speaker 1>a way.

0:46:41.440 --> 0:46:46.080
<v Speaker 2>I don't. But but the idea of some kind of.

0:46:48.320 --> 0:46:53.480
<v Speaker 1>Relief sometimes calls to me, some sort of altered state. Yeah,

0:46:53.520 --> 0:46:56.400
<v Speaker 1>a little bit like maybe maybe it's time for me

0:46:56.440 --> 0:47:00.000
<v Speaker 1>to go to Togo and and transit up.

0:47:00.200 --> 0:47:02.000
<v Speaker 2>Oh he's gone, jeez.

0:47:02.520 --> 0:47:04.640
<v Speaker 1>So let me ask you now then, because we're about

0:47:04.640 --> 0:47:06.640
<v Speaker 1>out of time. But I but just before we go,

0:47:06.719 --> 0:47:09.000
<v Speaker 1>I want to ask you, what is given the fight?

0:47:09.120 --> 0:47:13.800
<v Speaker 1>You wrote books for sixty our story, you wrote everything

0:47:13.840 --> 0:47:18.400
<v Speaker 1>for sixty five years, and now you don't write at all.

0:47:18.200 --> 0:47:22.040
<v Speaker 2>What do you do? Well, as I said, I go,

0:47:22.160 --> 0:47:24.760
<v Speaker 2>of course, go to the gym. You go to the gym,

0:47:25.040 --> 0:47:33.040
<v Speaker 2>I read, I listen to music. I hang out with

0:47:33.080 --> 0:47:36.480
<v Speaker 2>my wife, who's a lovely woman. So that makes sense.

0:47:37.360 --> 0:47:41.520
<v Speaker 2>That's uh, that's a delight. Patient I would imagine as well.

0:47:41.920 --> 0:47:47.720
<v Speaker 2>Patient she would have to she fucking would a saint,

0:47:48.120 --> 0:47:54.360
<v Speaker 2>she is kind of yeah. Uh. And we travel. We

0:47:54.520 --> 0:48:02.239
<v Speaker 2>travel quite a bit, not as it enterest as in

0:48:02.280 --> 0:48:07.280
<v Speaker 2>the past, because no Africa trips more or what mostly

0:48:07.600 --> 0:48:17.279
<v Speaker 2>mostly cruises, but we spent I think two weeks in

0:48:17.400 --> 0:48:24.000
<v Speaker 2>Tasmania on a cruise around Tasmania earlier this year. That's

0:48:24.000 --> 0:48:30.359
<v Speaker 2>a long flight, yes, And I decided, even though it

0:48:30.400 --> 0:48:34.040
<v Speaker 2>was a perfectly comfortable flight, we had a decent enough time.

0:48:34.160 --> 0:48:39.480
<v Speaker 2>And I hate flying. I hate airports. I hate the whole. Yeah, yeah,

0:48:39.560 --> 0:48:42.480
<v Speaker 2>I mean I love it and hate it. And this

0:48:42.520 --> 0:48:46.200
<v Speaker 2>one was I don't know, sixteen hours, however long it was.

0:48:46.239 --> 0:48:50.080
<v Speaker 2>I thought, I don't think I have to do that again. Yeah, yeah,

0:48:50.440 --> 0:48:51.960
<v Speaker 2>especially if you get this somewhere. I am.

0:48:52.080 --> 0:48:54.160
<v Speaker 1>I've never been to Tasmania, but I can imagine you

0:48:54.160 --> 0:48:58.520
<v Speaker 1>could probably get a similar effect geographically by not leaving

0:48:58.520 --> 0:49:00.480
<v Speaker 1>the continental United statef am.

0:49:00.480 --> 0:49:10.960
<v Speaker 2>I right, uh, probably. We did. Like Saber, it's a

0:49:11.120 --> 0:49:16.319
<v Speaker 2>very livapool city and we enjoyed we enjoyed the GA

0:49:16.360 --> 0:49:17.400
<v Speaker 2>Cruz and everything.

0:49:18.080 --> 0:49:22.439
<v Speaker 1>But it's too far away, not for the Tasmanians, let's

0:49:22.440 --> 0:49:24.600
<v Speaker 1>be fair. From their point of view, it's right there,

0:49:24.840 --> 0:49:28.120
<v Speaker 1>it is, it's right there. They're fine, Larry's great to

0:49:28.160 --> 0:49:28.680
<v Speaker 1>catch up with you.

0:49:28.760 --> 0:49:31.239
<v Speaker 2>P Uh, have more power to you. They keep going

0:49:31.239 --> 0:49:31.440
<v Speaker 2>to the.

0:49:31.440 --> 0:49:35.319
<v Speaker 1>Gym and I'll speaks excellent. It's so good to see

0:49:35.320 --> 0:49:38.480
<v Speaker 1>it's lovely to see