WEBVTT - The Lost Archive

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<v Speaker 1>Pushkin. Imagine there's a place in our world where the

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<v Speaker 1>known things go. A corridor of the mind. Along the walls,

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<v Speaker 1>shelves stocked with proof, and all around the clutter of clues,

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<v Speaker 1>wooden card catalogs, metal file drawers, walls covered with old maps,

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<v Speaker 1>and over here my mother's sketch books, my father's notebooks.

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<v Speaker 1>This place stores the facts that matter and matters of fact.

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<v Speaker 1>It's all that stands between reasonable doubt and the chaos

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<v Speaker 1>of uncertainty. Welcome to the Last Archive, a place I've

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<v Speaker 1>been coming to for a while now to think about

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<v Speaker 1>knowledge and the history of evidence. I'm Jill Lapoor. I'm

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<v Speaker 1>fascinated by origins, When did something start and why? So

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<v Speaker 1>for this final episode, I wanted to go on a

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<v Speaker 1>quest for my own origins, a trip to the place

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<v Speaker 1>where I first started asking questions about how we know

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<v Speaker 1>what we know. I wanted to try to understand why,

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<v Speaker 1>why exactly. I've gotten so worried about losing those things,

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<v Speaker 1>losing the ability even to know anything at all. Step

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<v Speaker 1>over the threshold to the town where I grew up.

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<v Speaker 1>Long before I was born. The town where I grew

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<v Speaker 1>up was taken apart brick by brick, stone by stone,

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<v Speaker 1>plank by plank, tree by tree. How long does it

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<v Speaker 1>take to build a town? I don't know. Decades, generations,

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<v Speaker 1>clearing fields, cutting roads, building houses, planting crops, setting up

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<v Speaker 1>a grist mill for grinding flower, a butchers, a bakers,

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<v Speaker 1>a candlestick makers, establishing a church, a town hall, town

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<v Speaker 1>common How long does it take for all that to

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<v Speaker 1>be dismantled? I know that answer precisely nine years. In

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<v Speaker 1>the eighteen nineties, the city of Boston was running out

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<v Speaker 1>of drinking water. The Board of Health studied the problem,

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<v Speaker 1>looked all over the state of Massachusetts for solutions. Where

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<v Speaker 1>could they get water? They decided the best solution was

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<v Speaker 1>to dam a river, the Nashua River. They'd create a

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<v Speaker 1>reservoir with the water from the dammed river and build

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<v Speaker 1>aqueducts to bring that water from the reservoir to the city.

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<v Speaker 1>Problem was the place where they wanted to build this reservoir,

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<v Speaker 1>A beautiful valley, a bound to full four thousand acre floodplain.

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<v Speaker 1>It was a town, the town of West Boylston, population

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<v Speaker 1>three thousand. Still, it was the best option, and the

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<v Speaker 1>state decided to go ahead. In the name of progress.

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<v Speaker 1>The state brought in the best engineers, drep plans detailed

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<v Speaker 1>every inch of it, the dam, the reservoir, the pipes.

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<v Speaker 1>The dismantling began in the year eighteen ninety five. Half

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<v Speaker 1>the population of the town was displaced. The state brought

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<v Speaker 1>in immigrant laborers battalions like my grandfather Giovanni Lapoor, to

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<v Speaker 1>do the work. At night, they slept in shanties made

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<v Speaker 1>of old boards and rusty nails. By day, every day

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<v Speaker 1>they took things apart three hundred and sixty houses, eight schools,

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<v Speaker 1>six mills, four churches, nineteen miles of roads, and six

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<v Speaker 1>miles of train tracks. The dam was finished in nineteen

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<v Speaker 1>oh five, and then the valley was very slowly flooded

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<v Speaker 1>with water, its vast expanse swirling round the stone foundations

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<v Speaker 1>of dismantled houses rising higher higher, higher, like filling a

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<v Speaker 1>bowl with sue to the very rim. It was as

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<v Speaker 1>if the town underneath had never been there. When we

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<v Speaker 1>started this podcast three years ago, people kept getting the

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<v Speaker 1>title wrong, the Lost Archive. It sounded so Indiana Jones.

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<v Speaker 1>I had to keep correcting people. No, No, not the

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<v Speaker 1>lost Archive, the last Archive. But I've come to see

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<v Speaker 1>over these three seasons that a lot of the show

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<v Speaker 1>really has been about loss. So instead of trying to

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<v Speaker 1>avoid that title, I decided to jump right into it

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<v Speaker 1>by going back to whist Boilston, the part of that

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<v Speaker 1>town that survived the building of the reservoir. By nineteen

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<v Speaker 1>o eight, half the town had been flooded. The valley,

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<v Speaker 1>or what had once been the main part of town

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<v Speaker 1>that was long gone. But after the reservoir was filled

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<v Speaker 1>the hills that part of town survived. What had once

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<v Speaker 1>been the outskirts became the center. I grew up there

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<v Speaker 1>in the nineteen sixty in nineteen seventies, I can't even tree.

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<v Speaker 1>This giant spruce tree was here when I was a kid.

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<v Speaker 1>Was the weeping so far the only thing the willow

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<v Speaker 1>tree in our backyard. I felt right bringing my producer

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<v Speaker 1>Ben here. We first met, oh more than a decade ago,

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<v Speaker 1>when he was a student of mine. He was one

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<v Speaker 1>of those college students where you say, plainly, I'm the

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<v Speaker 1>one learning here. We'd really gotten to know one another

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<v Speaker 1>when he was working on his senior thesis about orson Welles.

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<v Speaker 1>Ben and I share, among other things, a love of

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<v Speaker 1>old radio and dogs and eb White essays for the

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<v Speaker 1>Last Dart I've We've taken a lot of road trips,

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<v Speaker 1>but for me, the weirdest quest we'd ever undertaken was

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<v Speaker 1>that trip to the house where I grew up, a

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<v Speaker 1>tiny white brick fronted colonial across the street from a

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<v Speaker 1>restaurant called The Manor. Ben got there before I did.

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<v Speaker 1>I was standing out front of the house, and then

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<v Speaker 1>I was like, you know, maybe I shouldn't just be

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<v Speaker 1>can here with those strange Yeah. I hadn't been back,

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<v Speaker 1>probably since the nineteen eighties. You might think a historian

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<v Speaker 1>would like to look back, to go back, but I

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<v Speaker 1>don't like looking back at my own life. I'm also

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<v Speaker 1>the opposite of a hoarder. I threw everything away, photographs, diaries, letters,

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<v Speaker 1>pretty much junked all of it. I love reading other

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<v Speaker 1>people's old male pawing through their archives, but not my own.

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<v Speaker 1>I also never go back. Everything's different in my old

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<v Speaker 1>neighborhood now. The street used to be a sleepy little

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<v Speaker 1>road and something closer to a raceway. Now. Our house

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<v Speaker 1>was kind of raggedy, a little shabby, a vacant lot

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<v Speaker 1>next door for kickball, wild BlackBerry patch in the back.

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<v Speaker 1>None of that's there anymore. What hasn't been mowed down

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<v Speaker 1>has been tarted up. When I was twelve, the night

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<v Speaker 1>before we moved out of that little brick fronted colonial,

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<v Speaker 1>I walked through every room in the house in my

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<v Speaker 1>pajamas in the dark, carrying a flashlight, casting its glow

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<v Speaker 1>from corner at a corner, from floor to ceiling, trying

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<v Speaker 1>to frame within the light and then commit to memory

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<v Speaker 1>every single object within my sight. The yellow laundry shoot,

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<v Speaker 1>the cream and leather world book encyclopedias, the pink flowered wallpaper,

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<v Speaker 1>the shelf of canned soups, the ashtrays in every room

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<v Speaker 1>for my father's wooden pipes, the smell of his brigs

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<v Speaker 1>tobacco everywhere. I wanted to memorize the contents of the

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<v Speaker 1>entire house as if I were shooting a film, to

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<v Speaker 1>keep and etch and preserve it in my mind, an

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<v Speaker 1>archive of my childhood. Nights afterward, I would close my

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<v Speaker 1>eyes in bed and run the film again to watch it,

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<v Speaker 1>so I wouldn't forget it visiting there looking at old

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<v Speaker 1>photographs that would have been crazy to me. Instead, I

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<v Speaker 1>kept it in my head. I can still unspool that

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<v Speaker 1>film and watch it when I shut my eyes. I

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<v Speaker 1>know where the soup should be shelved, the spot on

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<v Speaker 1>the bumpy froumpy couch and the basement where my cat

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<v Speaker 1>had kittens. The proper shade of pink for the bedroom

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<v Speaker 1>above the garage. I didn't like to store things, but

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<v Speaker 1>I like to keep memories. I was always worried about forgetting, mainly,

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<v Speaker 1>I think because I was so distressed by what distresses

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<v Speaker 1>every kid. Grown ups seem to have forgotten what it's

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<v Speaker 1>like to be small and powerless and scared. How could

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<v Speaker 1>they for me. The place to go for answers to

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<v Speaker 1>that question, for answers to every question was the library

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<v Speaker 1>in West Boylston. That place was the Beaman Memorial Public Library.

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<v Speaker 1>He could walk there from our house, and I walked

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<v Speaker 1>there all the time because it was one of my

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<v Speaker 1>chores to bring all the library books back. How did

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<v Speaker 1>you return all these books? I had this little red

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<v Speaker 1>canvas rucksack that with these canvas straps that I really loved,

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<v Speaker 1>and I don't know where I got it or if

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<v Speaker 1>I picked it out, but like I remember thinking, this

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<v Speaker 1>is exactly what a little girls should carry your books

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<v Speaker 1>to the library. And I don't know why I like it.

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<v Speaker 1>I think I God, look at the library. I walked

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<v Speaker 1>from my house to the library went partly through the woods,

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<v Speaker 1>at least the way I took it. You walked across

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<v Speaker 1>our backyard, leapt over a little brook, and traveled along

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<v Speaker 1>a path through a shadowy pine forest. You got through

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<v Speaker 1>the sort of BlackBerry field through you merged out of

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<v Speaker 1>the BlackBerry patch, and all of a sudden you were

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<v Speaker 1>at the town common. There was the Catholic church, our church,

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<v Speaker 1>the cemetery, a skating rink in the winter, a gazebo,

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<v Speaker 1>and then you cut through this park like thing, which

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<v Speaker 1>wasn't as landscaped as now. This is the center of town.

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<v Speaker 1>Door to door. It took all of fifteen minutes. It's

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<v Speaker 1>occurred to me more than once when working on the

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<v Speaker 1>last archive, that this building, this little town library, lies

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<v Speaker 1>at its heart. When I say this thing at the

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<v Speaker 1>top of the show about the place where the known

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<v Speaker 1>Things go, I must be thinking about the Beaman Memori

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<v Speaker 1>Royal Public Library, because that's the place where I anyway

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<v Speaker 1>used to go to know things. Out front of the

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<v Speaker 1>library there's a little monument to the town's revolutionary era founder,

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<v Speaker 1>Ezra Beamon. It's like how in The Simpsons there's a

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<v Speaker 1>statue in Springfield to that town's revolutionary era founder, guy

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<v Speaker 1>who goes by the name Jebediah Obadiah Zachariah Jedediah Springfield.

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<v Speaker 1>So this is the famous Beeman watering trough, because I

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<v Speaker 1>think his name is Jedediah Zachariah Obediahs. You can't get

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<v Speaker 1>water for your horse here anymore, of course, the trough's empty.

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<v Speaker 1>It's just decorative. But back when I was a kid,

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<v Speaker 1>I found it magical, a portal to another world, a

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<v Speaker 1>kind of time machine, to a world where people had

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<v Speaker 1>horses who needed water. And I was always curious about

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<v Speaker 1>this mysterious founder, Guy are Ezra Beamon. In The Simpsons,

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<v Speaker 1>Lisa sets her mind on unmasking Jebba Springfield. This quest

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<v Speaker 1>takes her to Springfield's Historical Society, where she digs through

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<v Speaker 1>the archives and she finds the secret confessions of Jeopardiah Springfield. Know,

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<v Speaker 1>ye who read this, there is more to my life

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<v Speaker 1>than history record. That was exactly my girlhood fantasy. As

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<v Speaker 1>I trudged every day into the Beaman Memorial Library wearing

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<v Speaker 1>my red canvas rucksack stuffed with books, standing in front

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<v Speaker 1>of the historical plaque. I can still feel a little

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<v Speaker 1>bit of that thrill. This watering trough was erected in

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<v Speaker 1>eighteen o eight at the old Beamon Tavern by Major

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<v Speaker 1>as Rabeam, and the founder of was Bolston. This is

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<v Speaker 1>an ingering question. What does it mean to found a town?

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<v Speaker 1>Is it like he showed up here and he was like,

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<v Speaker 1>I like the cut of this valley and you should

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<v Speaker 1>come out, or as Rabamon founded was Bolston in the

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<v Speaker 1>way that most New England towns were founded by seceding

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<v Speaker 1>from another town. The Beamon's settled in New England in

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<v Speaker 1>sixteen thirty five. Ezra was born in seventeen thirty six.

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<v Speaker 1>In seventeen sixty four he built the Beeman Tavern, where

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<v Speaker 1>colonists would laid a rail against British tyranny. Then he

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<v Speaker 1>fought in the Revolutionary War. Starting in seventeen ninety three,

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<v Speaker 1>he lobbied the state, hoping to establish the valley where

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<v Speaker 1>he lived as its own town, separate from the town

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<v Speaker 1>of Boylston. He won that battle in eighteen o eight,

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<v Speaker 1>founded West Boylston and died three years later. How the

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<v Speaker 1>library got started, that's another story. West Boylston opened its

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<v Speaker 1>first library in eighteen seventy eight, mainly with a collection

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<v Speaker 1>of books donated by the writer, abolitionist and suffragist Lydia

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<v Speaker 1>Moriah Child. That library was demolished for the reservoir, and

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<v Speaker 1>so was Ezra Beeman's family farm, and so was the

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<v Speaker 1>Beeman Tavern. Anyway, in nineteen eleven, when the New Town

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<v Speaker 1>Center was just being built, after the reservoir was filled,

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<v Speaker 1>Ezra Beeman's great grandson funded the building of a new

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<v Speaker 1>Town library. It opened the next year as the Beaman Memorial.

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<v Speaker 1>It opened at the height of the progressive era, when

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<v Speaker 1>public libraries represented the vanguard of democracy, These free, beautiful

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<v Speaker 1>places open for everyone, especially for the waves of new immigrants, Hungarians, Jews,

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<v Speaker 1>Italians like my grandfather. You know, probably the stateliest building

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<v Speaker 1>in town. I mean, we're looking at it. It's a

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<v Speaker 1>you know, it's it's not gorgeous. It's a it's a

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<v Speaker 1>sort of very kind of prim brick with white trim,

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<v Speaker 1>two story building with the kind of pitched slate roof.

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<v Speaker 1>It's not imposing, it's not monumental, but it communicates its

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<v Speaker 1>public charter in the way it faces this little common

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<v Speaker 1>and in the way it occupies the tip of this

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<v Speaker 1>long triangle where the two main roads of the town

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<v Speaker 1>are coming together. It just says, welcome to our town,

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<v Speaker 1>and here is our world of knowledge. Ben and I

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<v Speaker 1>headed inside. We walked into a reading room with tall windows,

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<v Speaker 1>long wooden tables equilt on the wall, each square stitched

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<v Speaker 1>to depict an episode in the town's history. And it

0:14:25.836 --> 0:14:30.916
<v Speaker 1>was very very quiet. You know how, It's like every

0:14:30.956 --> 0:14:33.476
<v Speaker 1>library has the sign that says, like, maintain a library

0:14:33.556 --> 0:14:36.116
<v Speaker 1>like atmosphere. Yeah, which is this kind of like very

0:14:36.156 --> 0:14:38.796
<v Speaker 1>circular reasoning. I feel that this is a really clear

0:14:38.836 --> 0:14:42.596
<v Speaker 1>illustration of a library type atmosphere. Upon coming in, you

0:14:42.676 --> 0:14:47.356
<v Speaker 1>feel it. The library was a lot smaller than I remembered. Also,

0:14:47.396 --> 0:14:49.876
<v Speaker 1>it was a lot nicer. I could still close my

0:14:49.916 --> 0:14:52.596
<v Speaker 1>eyes and picture where my favorite books used to be shelved,

0:14:52.996 --> 0:14:56.116
<v Speaker 1>the corner where I liked best to read. Now when

0:14:56.156 --> 0:14:58.796
<v Speaker 1>I go to a library reading room, it's a big library,

0:14:58.836 --> 0:15:01.916
<v Speaker 1>Harvard's widen Air Library or the New York Public Library

0:15:02.036 --> 0:15:05.356
<v Speaker 1>or the Library of Congress. The beam in reading room

0:15:05.876 --> 0:15:08.236
<v Speaker 1>is the size of a living room, and all the

0:15:08.276 --> 0:15:13.436
<v Speaker 1>more magical for at a tiny mystical palace. You see

0:15:13.436 --> 0:15:15.716
<v Speaker 1>all these quotes about libraries. They're penned up on the

0:15:15.716 --> 0:15:20.476
<v Speaker 1>glass the very existence of libraries affords the best evidence

0:15:20.516 --> 0:15:22.636
<v Speaker 1>that we may yet have hope for the future of

0:15:22.716 --> 0:15:27.796
<v Speaker 1>man ts Eliott with u Isabella end a quote that's

0:15:27.876 --> 0:15:30.836
<v Speaker 1>very last archivey. The library is inhabited by spirits that

0:15:30.916 --> 0:15:33.636
<v Speaker 1>come out of the pages at night. We're at the

0:15:33.636 --> 0:15:36.476
<v Speaker 1>beginning of the episode. When I was a little kid,

0:15:36.676 --> 0:15:38.596
<v Speaker 1>I spent most of my time in the children's room

0:15:38.676 --> 0:15:41.836
<v Speaker 1>in the basement, where the librarian was named Missus Noise,

0:15:42.516 --> 0:15:46.036
<v Speaker 1>Missus Noise, who told everyone to be quiet. The children's

0:15:46.116 --> 0:15:48.556
<v Speaker 1>room has since then moved up to the second floor.

0:15:48.876 --> 0:15:52.836
<v Speaker 1>Ben and I headed upstairs. Rugged carpet, hip high shelves,

0:15:53.036 --> 0:15:59.156
<v Speaker 1>pint sized chairs, stuffed animals. This is so cute. I

0:15:59.276 --> 0:16:04.156
<v Speaker 1>love a children's every puppet theater start. Yeah, they have

0:16:04.156 --> 0:16:08.196
<v Speaker 1>a painted puppet theater like a Jella. You graduate from

0:16:08.196 --> 0:16:10.876
<v Speaker 1>the children's room and get set loose in the nonfiction

0:16:10.916 --> 0:16:14.556
<v Speaker 1>and fiction stacks, the reference room, the card catalog, the

0:16:14.636 --> 0:16:17.756
<v Speaker 1>computer terminal. Everything in a library is there just for

0:16:17.876 --> 0:16:21.596
<v Speaker 1>you and also just for everyone else. It's a public

0:16:21.636 --> 0:16:25.036
<v Speaker 1>space for common knowledge and for community. But you could

0:16:25.076 --> 0:16:27.756
<v Speaker 1>also take a piece of it back home in your backpack.

0:16:28.516 --> 0:16:30.836
<v Speaker 1>Every step of the walk home passed the town Common,

0:16:30.876 --> 0:16:33.516
<v Speaker 1>through the BlackBerry patch, winding a path through the pine woods,

0:16:33.596 --> 0:16:36.356
<v Speaker 1>leaping over the brook sneaker squelching in the mud, rucksack

0:16:36.396 --> 0:16:40.036
<v Speaker 1>on my back, walking through the beam in public library.

0:16:40.316 --> 0:16:43.316
<v Speaker 1>I began to think it had been just this all along,

0:16:43.756 --> 0:16:47.516
<v Speaker 1>that I felt I'd lost the giddiness of carrying that weight,

0:16:47.916 --> 0:16:50.836
<v Speaker 1>bringing home a stack full of books, believing they held

0:16:50.836 --> 0:17:10.236
<v Speaker 1>all the answers, spirits seeping out of their pages. Every

0:17:10.276 --> 0:17:13.036
<v Speaker 1>little town library that I've ever been to has its

0:17:13.036 --> 0:17:17.436
<v Speaker 1>own version of a last archive, some tiny locked room.

0:17:17.636 --> 0:17:20.516
<v Speaker 1>Sometimes it's in an attic, more often it's down in

0:17:20.556 --> 0:17:24.476
<v Speaker 1>the basement where they keep old stuff, antiques, a lot

0:17:24.476 --> 0:17:27.156
<v Speaker 1>of it. It's junk stuff people donate to the library

0:17:27.156 --> 0:17:31.116
<v Speaker 1>thinking it's amazing and collectible, but really it's pretty much trash,

0:17:31.156 --> 0:17:32.996
<v Speaker 1>and then the library and has got to keep it,

0:17:33.076 --> 0:17:36.636
<v Speaker 1>or feels obligated to keep it. I've seen very old

0:17:36.676 --> 0:17:41.716
<v Speaker 1>and obscure books in these places, paintings, prints, unwanted bronze plaques,

0:17:42.196 --> 0:17:47.876
<v Speaker 1>chipped marble statues, jewelry, boxes of beads, campaign buttons, moth

0:17:47.956 --> 0:17:54.276
<v Speaker 1>eaten poncho's, ivory, chess pieces, stamp collections, faded photo albums.

0:17:54.316 --> 0:17:58.236
<v Speaker 1>Sometimes it's a treasure, though I found uncataloged invaluable portraits

0:17:58.276 --> 0:18:00.596
<v Speaker 1>in these rooms. I once went to a town library

0:18:00.596 --> 0:18:03.716
<v Speaker 1>where they had a mammoth tusk and preserved in plaster

0:18:04.236 --> 0:18:07.276
<v Speaker 1>dinosaur footprints. I wouldn't be surprised to find a dead

0:18:07.316 --> 0:18:10.436
<v Speaker 1>body in one of these places. Honestly, they're strapped, padlocked

0:18:10.436 --> 0:18:17.196
<v Speaker 1>trunk full of bones. The last archive at the Beamon

0:18:17.276 --> 0:18:20.516
<v Speaker 1>Memorial Library in West Boylstone is a windowless room in

0:18:20.556 --> 0:18:25.436
<v Speaker 1>the basement with metal shelves and a dehumidifier humming. Anna,

0:18:25.516 --> 0:18:28.916
<v Speaker 1>the library director, let us in. There was a wooden

0:18:28.916 --> 0:18:32.116
<v Speaker 1>reading table and a cardboard box filled with tiny white

0:18:32.116 --> 0:18:35.596
<v Speaker 1>cotton gloves. Ben and I stretched them on and began

0:18:35.676 --> 0:18:39.716
<v Speaker 1>pawing our way across the shelves. I always want somehow

0:18:39.716 --> 0:18:42.396
<v Speaker 1>to touch everything, lay a finger across the spine of

0:18:42.516 --> 0:18:45.876
<v Speaker 1>every book. Ben's got the same bug, I thought, watching

0:18:45.916 --> 0:18:48.916
<v Speaker 1>his white gloved fingers tracing in boss titles as he

0:18:48.916 --> 0:18:52.236
<v Speaker 1>read them out loud to himself, whispering, neither of us

0:18:52.236 --> 0:18:54.276
<v Speaker 1>are hardly happier than when in a room like this.

0:18:54.756 --> 0:18:57.916
<v Speaker 1>Dust boars dancing in the light so much in so

0:18:57.996 --> 0:19:02.996
<v Speaker 1>small a space musty. It smells like knowledge. And none

0:19:02.996 --> 0:19:07.876
<v Speaker 1>of it exists online anywhere. Ezra Beamon's family Bible is here.

0:19:08.116 --> 0:19:11.676
<v Speaker 1>Heaviest Stone, the guy who started the Farmer's Almanacs from

0:19:11.716 --> 0:19:14.516
<v Speaker 1>West Boylston. So they've got a complete set of old

0:19:14.556 --> 0:19:17.556
<v Speaker 1>Farmer's Almanacs down here. They've got the whole of Lydia

0:19:17.636 --> 0:19:21.476
<v Speaker 1>Maria Child's Library, the hundred and seventy volumes that started

0:19:21.516 --> 0:19:24.356
<v Speaker 1>off this collection. There are also plenty of records of

0:19:24.356 --> 0:19:27.236
<v Speaker 1>my own family, Photographs of my father, who was a

0:19:27.276 --> 0:19:31.116
<v Speaker 1>public school teacher, in the town's high school yearbooks, smiling

0:19:31.196 --> 0:19:34.396
<v Speaker 1>surrounded by the men's basketball team, or sitting behind a

0:19:34.476 --> 0:19:38.596
<v Speaker 1>desk wearing a bow tie, smoking his pipe and looking shy.

0:19:39.476 --> 0:19:41.356
<v Speaker 1>Then there were also lots and lots of old maps

0:19:41.356 --> 0:19:44.236
<v Speaker 1>and blueprints of the town, the two thousand acres of

0:19:44.236 --> 0:19:47.396
<v Speaker 1>farms and houses and churches and mills that in the

0:19:47.396 --> 0:19:50.876
<v Speaker 1>early eighteen nineties the water board was planning to flood.

0:19:52.436 --> 0:19:55.476
<v Speaker 1>Plan of West Boylston after the survey of the Metropolitan

0:19:55.516 --> 0:20:01.036
<v Speaker 1>water Board eighteen ninety eight, the state had to inventory

0:20:01.076 --> 0:20:03.956
<v Speaker 1>every square inch of land and everything on it to

0:20:04.036 --> 0:20:07.636
<v Speaker 1>pay property owners and to plan the engineering marble that

0:20:07.796 --> 0:20:11.436
<v Speaker 1>was the reservoir in the dam. Each slope and incline,

0:20:11.756 --> 0:20:14.756
<v Speaker 1>the pitch and size of it all. Looking at the

0:20:14.796 --> 0:20:19.116
<v Speaker 1>engineering plans blue with white lines like water and fishing line,

0:20:19.476 --> 0:20:22.556
<v Speaker 1>I pictured what they hid. The farm or somesow once

0:20:22.596 --> 0:20:25.436
<v Speaker 1>had a record number of piglets. Could almost hear them

0:20:25.436 --> 0:20:29.556
<v Speaker 1>squealing the hayloft where lovers met on autumn evenings, whispering

0:20:29.596 --> 0:20:33.036
<v Speaker 1>over the thrumb of crickets. Their whole world had been

0:20:33.076 --> 0:20:36.756
<v Speaker 1>reduced to these blue sheets of paper. And then, after

0:20:36.796 --> 0:20:39.676
<v Speaker 1>the project had been completed, what did the State Waterboard

0:20:39.676 --> 0:20:42.796
<v Speaker 1>do with all those plans? They gave them to the

0:20:42.836 --> 0:20:46.636
<v Speaker 1>town library. On the wall above the bank of drawers

0:20:46.636 --> 0:20:50.436
<v Speaker 1>that held the blueprints, they hung a manuscript, framed and

0:20:50.596 --> 0:20:55.076
<v Speaker 1>under glass, a letter dated nineteen twelve from the town

0:20:55.116 --> 0:21:00.316
<v Speaker 1>Clerk's office, in much faded handwriting. We are deeply gratified

0:21:00.436 --> 0:21:03.316
<v Speaker 1>that we are the recipients of a kindness, the final

0:21:03.356 --> 0:21:08.036
<v Speaker 1>expression of a long cherished purpose, so appropriate and so timely.

0:21:10.356 --> 0:21:13.556
<v Speaker 1>It was a resolution of thanks to Ezra Beemon's great grandson,

0:21:14.036 --> 0:21:18.036
<v Speaker 1>thanking him for the gift of the library. This gift

0:21:18.276 --> 0:21:22.236
<v Speaker 1>will enable us, our children, and our children's children down

0:21:22.316 --> 0:21:33.676
<v Speaker 1>through the generations to reap the rich footage of recorded

0:21:33.756 --> 0:21:42.356
<v Speaker 1>human thought rich? Where is it? It's got to be footage. No,

0:21:42.476 --> 0:21:48.476
<v Speaker 1>it's not footage vintage. I just could not figure out

0:21:48.516 --> 0:21:51.596
<v Speaker 1>this weird old word. Could not see the letters tell

0:21:51.636 --> 0:21:54.716
<v Speaker 1>one from another, could not sound it out. I found

0:21:54.756 --> 0:21:59.916
<v Speaker 1>myself in a library unable to read the word. Is footage?

0:22:02.636 --> 0:22:08.556
<v Speaker 1>Is not the rich footage of recorded human thought? Okay,

0:22:08.556 --> 0:22:10.716
<v Speaker 1>so we had not. I found the equivalent of Jebediah

0:22:10.756 --> 0:22:16.396
<v Speaker 1>Obadiah Zachariah Jedediah Springfield Secret Diary. But honestly it was

0:22:16.476 --> 0:22:21.396
<v Speaker 1>better this tribute to Ezra Beemon's great grandson. This gift

0:22:21.836 --> 0:22:25.276
<v Speaker 1>will enable us, our children and our children's children down

0:22:25.436 --> 0:22:32.636
<v Speaker 1>through the generations to reap the rich. It's a good thing.

0:22:32.716 --> 0:22:34.716
<v Speaker 1>Ben was with me. He's much better at keeping his

0:22:34.796 --> 0:22:37.796
<v Speaker 1>head at a word like footage. I mean, you can

0:22:37.876 --> 0:22:47.196
<v Speaker 1>read fruit, to read the rich fruited. It comes to this,

0:22:48.516 --> 0:22:52.796
<v Speaker 1>the end. This is like, this is the original, This

0:22:52.876 --> 0:22:56.436
<v Speaker 1>is the Incanla, the last dur Guy. We have found

0:22:56.436 --> 0:23:01.756
<v Speaker 1>it here, and yet we cannot have it to read

0:23:01.316 --> 0:23:06.356
<v Speaker 1>the footage of recorded human thought. This is where the

0:23:06.476 --> 0:23:13.956
<v Speaker 1>known things go. This letter, pressed under glass, framed in wood,

0:23:14.756 --> 0:23:18.316
<v Speaker 1>hanging on a wall, fading had been in this little

0:23:18.356 --> 0:23:22.516
<v Speaker 1>basement room my whole life, a fifteen minute walk from

0:23:22.516 --> 0:23:25.956
<v Speaker 1>my house, and I'd never seen it before. It would

0:23:25.956 --> 0:23:27.516
<v Speaker 1>have meant nothing to me when I was ten years

0:23:27.556 --> 0:23:31.236
<v Speaker 1>old anyway, but it's been waiting here for the moment

0:23:31.716 --> 0:23:35.796
<v Speaker 1>I needed it. Reading it, trying to read it gave

0:23:35.836 --> 0:23:38.396
<v Speaker 1>me that same magical feeling I always get when reading

0:23:38.436 --> 0:23:41.436
<v Speaker 1>something written long ago that says something to me, as

0:23:41.476 --> 0:23:43.716
<v Speaker 1>if it had been written and sealed in an envelope

0:23:43.716 --> 0:23:47.556
<v Speaker 1>and mailed to me, mailed to everyone, but we each

0:23:47.596 --> 0:23:49.676
<v Speaker 1>get to open it up when the time is right.

0:23:50.796 --> 0:23:56.636
<v Speaker 1>It's very beautiful. The archives of old podcasts don't have stacks,

0:23:56.756 --> 0:24:00.676
<v Speaker 1>no spines of books, not even any file drawers. Just

0:24:00.876 --> 0:24:04.396
<v Speaker 1>MP three's floating in the ether, episodes about Rachel Carson

0:24:04.396 --> 0:24:07.916
<v Speaker 1>and bird Song, about Pedro Gonzalez and Spanish language radio,

0:24:08.316 --> 0:24:12.396
<v Speaker 1>about the polio vaccine and access Sally, and Soviet propaganda,

0:24:12.596 --> 0:24:17.356
<v Speaker 1>everything from the Scopes trial to January sixth. The idea

0:24:17.396 --> 0:24:20.756
<v Speaker 1>of a fictional archive had been Ben's, but the fictional

0:24:20.796 --> 0:24:24.756
<v Speaker 1>conceit always intersects with something real. That's what we found anyway.

0:24:25.356 --> 0:24:28.196
<v Speaker 1>This love letter to Ezra Beemon's great grandson from the

0:24:28.236 --> 0:24:31.636
<v Speaker 1>town clerk it was like that. I wanted to nab it,

0:24:32.236 --> 0:24:35.476
<v Speaker 1>stick it in my rucksack, head off through the BlackBerry brambles,

0:24:35.756 --> 0:24:39.396
<v Speaker 1>and carry it back into the last archive. But not

0:24:39.436 --> 0:24:43.196
<v Speaker 1>everything lost finds its way to an archive. Not most things.

0:24:43.236 --> 0:24:48.276
<v Speaker 1>Actually most things they just vanish. Ben and I had

0:24:48.276 --> 0:24:52.716
<v Speaker 1>one more stop to the place where the lost things go.

0:24:57.396 --> 0:25:00.516
<v Speaker 1>So see how we're just driving down into You could

0:25:00.516 --> 0:25:03.796
<v Speaker 1>imagine this just as a valley. It we're just really

0:25:03.836 --> 0:25:07.476
<v Speaker 1>gone lower, much lower than we were. But this is

0:25:07.516 --> 0:25:11.996
<v Speaker 1>the Wachuset Reservoir, and it's really very beautiful. When I

0:25:12.036 --> 0:25:14.196
<v Speaker 1>grew up in West Wellston, the same as if everything

0:25:14.316 --> 0:25:18.236
<v Speaker 1>involved around the reservoir, it was just so big. It's fast, really,

0:25:18.596 --> 0:25:21.956
<v Speaker 1>which means that you're forever driving across it or around it.

0:25:21.956 --> 0:25:23.836
<v Speaker 1>It's just a reservoir. Though you take it for granted.

0:25:23.876 --> 0:25:26.916
<v Speaker 1>You don't really think about it, except that I did.

0:25:28.756 --> 0:25:30.836
<v Speaker 1>Maybe when I was six years old, my mother told

0:25:30.836 --> 0:25:33.076
<v Speaker 1>me that under the reservoir used to be the town.

0:25:33.796 --> 0:25:36.676
<v Speaker 1>I remember we were driving over this same causeway, and

0:25:36.716 --> 0:25:39.956
<v Speaker 1>then I got obsessed with it, the drowned town under

0:25:39.996 --> 0:25:45.156
<v Speaker 1>the water, the town haunted, flooded, vanished. I biked across

0:25:45.196 --> 0:25:47.596
<v Speaker 1>here all the time, as a kid, this causeway, and

0:25:48.276 --> 0:25:49.876
<v Speaker 1>I'm going to take a left here and go buy

0:25:49.876 --> 0:25:55.876
<v Speaker 1>this hotdog stand, which is a famous landmark. Well used

0:25:55.876 --> 0:25:59.356
<v Speaker 1>to be Bobs, but I guess it's Roun's now. The

0:25:59.476 --> 0:26:02.756
<v Speaker 1>last stop of this last last archive road trip to

0:26:02.876 --> 0:26:05.796
<v Speaker 1>the watch Us Reservoir. Like when you're a kid, like

0:26:05.836 --> 0:26:07.636
<v Speaker 1>there's your family, and there's your house, and then there's

0:26:07.636 --> 0:26:09.516
<v Speaker 1>your street, and then there's your neighborhood, and then there's

0:26:09.516 --> 0:26:12.236
<v Speaker 1>some sense of your town. It always felt like my

0:26:12.316 --> 0:26:16.436
<v Speaker 1>town was just missing. My town had gone to its

0:26:16.476 --> 0:26:21.756
<v Speaker 1>watery grave below all this water too, where the nipmuck

0:26:21.836 --> 0:26:26.476
<v Speaker 1>dead w U sit. That's a nipmuck ward Nashua, the

0:26:26.596 --> 0:26:29.236
<v Speaker 1>river that was damned to make this reservoir. That's an

0:26:29.236 --> 0:26:33.476
<v Speaker 1>Abanaki word. Maybe there's also something I don't know if

0:26:33.476 --> 0:26:36.396
<v Speaker 1>this is like part of being a historian or I

0:26:36.436 --> 0:26:37.676
<v Speaker 1>don't know if you think this is part of being

0:26:37.676 --> 0:26:39.796
<v Speaker 1>a historian, but if you have to have some kind

0:26:39.796 --> 0:26:43.156
<v Speaker 1>of affect of love of the past, like there has

0:26:43.196 --> 0:26:45.836
<v Speaker 1>to be just an impulse there to feel the sense

0:26:45.836 --> 0:26:48.316
<v Speaker 1>of belonging with it. It was a little scary to me,

0:26:49.196 --> 0:26:53.076
<v Speaker 1>but some sense that it was some kind of purgatory

0:26:53.116 --> 0:26:57.836
<v Speaker 1>where the lost. We're trapped. And it's not as though

0:26:57.876 --> 0:27:00.676
<v Speaker 1>I wanted to go visit them, not least because I

0:27:00.716 --> 0:27:03.676
<v Speaker 1>can't swim. I have more than once come very close

0:27:03.756 --> 0:27:07.396
<v Speaker 1>to drowning. I'm terrified of water, crazy scared of it.

0:27:07.996 --> 0:27:10.796
<v Speaker 1>But I pictured it all the time. I wondered what

0:27:10.956 --> 0:27:13.436
<v Speaker 1>might be down there at the bottom of the reservoir.

0:27:13.956 --> 0:27:16.196
<v Speaker 1>The thing about the past for me is it doesn't

0:27:16.196 --> 0:27:21.556
<v Speaker 1>ever really go away, like stuff that happened generations ago is.

0:27:23.036 --> 0:27:25.556
<v Speaker 1>It's still kind of there, like you can go find it,

0:27:25.636 --> 0:27:28.916
<v Speaker 1>you can look it up, and the evidence that had

0:27:28.916 --> 0:27:34.276
<v Speaker 1>happened is very likely still there. Below this water are

0:27:34.316 --> 0:27:37.156
<v Speaker 1>the foundations of houses that haven't been there since nineteen

0:27:37.196 --> 0:27:40.036
<v Speaker 1>o two, but the foundations are still there. You could

0:27:40.076 --> 0:27:42.876
<v Speaker 1>still put on your scoopa gear and dive under this

0:27:42.956 --> 0:27:46.476
<v Speaker 1>water and you would find you would find the remains.

0:27:47.836 --> 0:27:49.796
<v Speaker 1>It was as if there had been these three places

0:27:49.836 --> 0:27:52.356
<v Speaker 1>growing up that it really mattered to me. My house

0:27:52.396 --> 0:27:54.716
<v Speaker 1>which I loved and knew we were leaving and tried

0:27:54.756 --> 0:27:58.916
<v Speaker 1>desperately to remember the library where they actually kept things,

0:27:59.276 --> 0:28:03.316
<v Speaker 1>stored knowledge so that it wouldn't vanish, and this reservoir,

0:28:03.676 --> 0:28:07.196
<v Speaker 1>which was where all knowledge was lost. Just sunk, disappeared.

0:28:08.076 --> 0:28:10.796
<v Speaker 1>How do you find your way to that stuff without drowning?

0:28:12.076 --> 0:28:19.436
<v Speaker 1>After the break? Ben and I dive in. I remember

0:28:19.436 --> 0:28:22.196
<v Speaker 1>in high school reading Adrian Rich for the first time

0:28:23.076 --> 0:28:26.836
<v Speaker 1>poems she wrote in the early nineteen seventies, especially this one,

0:28:27.676 --> 0:28:32.476
<v Speaker 1>Diving into the Wreck. Here's her reading it. I came

0:28:32.916 --> 0:28:37.876
<v Speaker 1>to explore the wreck. The words of purposes, the words

0:28:37.996 --> 0:28:41.676
<v Speaker 1>are maps. I came to see the damage that was

0:28:41.756 --> 0:28:46.316
<v Speaker 1>done and the treasures that prevail. I stroked the beam

0:28:46.356 --> 0:28:49.796
<v Speaker 1>of my lamp slowly along the flank of something more

0:28:49.876 --> 0:28:54.796
<v Speaker 1>permanent than fish or weed. These lines of riches just

0:28:54.916 --> 0:28:58.076
<v Speaker 1>spoke to me, then cut into my bones. It was

0:28:58.116 --> 0:29:01.156
<v Speaker 1>exactly how I had always pictured diving into the reservoir,

0:29:01.716 --> 0:29:06.436
<v Speaker 1>just going under the thing. I came for the wreck,

0:29:06.596 --> 0:29:09.836
<v Speaker 1>and not the story of the wreck, the thing itself,

0:29:09.916 --> 0:29:14.036
<v Speaker 1>and not the myth. The drowned face, always staring towards

0:29:14.076 --> 0:29:18.316
<v Speaker 1>the sun, the evidence of damage, worn by salt and

0:29:18.436 --> 0:29:22.476
<v Speaker 1>sway into this threadbare beauty, the ribs of the disaster,

0:29:22.996 --> 0:29:29.556
<v Speaker 1>curving their assertion among the tentative horns, The evidence of damage,

0:29:29.636 --> 0:29:33.596
<v Speaker 1>the ribs of the disaster, the wreck, the ruin. Ben

0:29:33.636 --> 0:29:36.196
<v Speaker 1>and I always joke about ruins and remains. How we

0:29:36.396 --> 0:29:39.036
<v Speaker 1>both want to see those places. How that's a big

0:29:39.036 --> 0:29:41.916
<v Speaker 1>part of how we imagined most episodes of this podcast,

0:29:42.556 --> 0:29:45.756
<v Speaker 1>diving into Rex. We had all these trips and where

0:29:45.796 --> 0:29:47.596
<v Speaker 1>we would go to some place where something used to be,

0:29:47.836 --> 0:29:50.916
<v Speaker 1>Like here's where Ralph Allison's barn was. Yeah, you know,

0:29:51.156 --> 0:29:53.556
<v Speaker 1>this is where West Boylston was. This is where this

0:29:53.716 --> 0:29:57.156
<v Speaker 1>dead body was found. The parking lot where this crime

0:29:57.156 --> 0:30:00.436
<v Speaker 1>was committed. This is where doctor do a little once

0:30:00.516 --> 0:30:03.876
<v Speaker 1>loved at the reservoir. We parked the car near the

0:30:03.916 --> 0:30:07.716
<v Speaker 1>hot dog stand and near the reservoirs. One historic landmark,

0:30:08.036 --> 0:30:11.876
<v Speaker 1>another kind of wreck. Now we're walking down this kind

0:30:11.876 --> 0:30:15.196
<v Speaker 1>of gravel carriage road to the what's called an old

0:30:15.236 --> 0:30:18.636
<v Speaker 1>Stone Church, which was a Baptist church built just a

0:30:18.636 --> 0:30:21.676
<v Speaker 1>couple of years before the state decided to flood the town.

0:30:25.716 --> 0:30:28.756
<v Speaker 1>The town's Baptist church right at this spot at the

0:30:28.916 --> 0:30:31.236
<v Speaker 1>edge of the valley, had burned to the ground in

0:30:31.316 --> 0:30:33.876
<v Speaker 1>eighteen ninety so the Baptists had built a new one

0:30:34.156 --> 0:30:38.476
<v Speaker 1>out of massive stones, unburnable to last forever. It was

0:30:38.556 --> 0:30:41.356
<v Speaker 1>brand new in eighteen ninety two, and then the next

0:30:41.436 --> 0:30:44.396
<v Speaker 1>year the state water Board made its decision to flood

0:30:44.396 --> 0:30:48.436
<v Speaker 1>the valley. The Baptist congregation mostly left, fled to other

0:30:48.476 --> 0:30:51.916
<v Speaker 1>towns like everyone else, but someone decided to leave the

0:30:51.956 --> 0:30:54.876
<v Speaker 1>brand new stone church standing as a kind of monument.

0:30:55.556 --> 0:30:57.836
<v Speaker 1>I guess it was just too new, too beautiful, too

0:30:57.916 --> 0:31:03.516
<v Speaker 1>hopeful to dismantle what had just been mantled. Do you

0:31:03.516 --> 0:31:07.316
<v Speaker 1>want to go inside the church? Yeah, let's going. It's

0:31:07.356 --> 0:31:09.716
<v Speaker 1>gotten so much Nacer. They really did this incredible job

0:31:09.756 --> 0:31:11.836
<v Speaker 1>renovating it. When I was a kid, it was it

0:31:11.956 --> 0:31:16.876
<v Speaker 1>had been just left since, you know, eighteen ninety five,

0:31:18.196 --> 0:31:20.996
<v Speaker 1>and the roof had fallen in. I had been struck

0:31:21.036 --> 0:31:24.356
<v Speaker 1>by lightning a few times, and it was really dangerous,

0:31:24.356 --> 0:31:26.756
<v Speaker 1>and they had just put it like a chain link

0:31:26.756 --> 0:31:29.916
<v Speaker 1>fence around it, and it was kind of terrifying. It's

0:31:29.956 --> 0:31:34.556
<v Speaker 1>also very wholesome graffiti Eric and Tony true love stuff,

0:31:34.836 --> 0:31:39.316
<v Speaker 1>Marry Me. There's no pews in it, there's no altar,

0:31:39.596 --> 0:31:41.876
<v Speaker 1>there's no stained glass windows. There's no windows at all.

0:31:41.916 --> 0:31:48.036
<v Speaker 1>There's just holes it. It's a great looking little church,

0:31:48.276 --> 0:31:49.916
<v Speaker 1>it really is. You can see why you wouldn't want

0:31:49.916 --> 0:31:52.556
<v Speaker 1>to tear it down immediately after completing it. Yeah, it's beautiful.

0:31:55.316 --> 0:31:57.996
<v Speaker 1>Is this the thing we'd come for? In the basement

0:31:57.996 --> 0:32:00.636
<v Speaker 1>of the library. We'd found that letter on the rich

0:32:00.796 --> 0:32:04.796
<v Speaker 1>footage of recorded human thought, common knowledge. In other words,

0:32:05.036 --> 0:32:08.076
<v Speaker 1>the theme of this whole season. I'd wanted to show

0:32:08.116 --> 0:32:11.076
<v Speaker 1>Ben the reservoir because as it's beautiful, but also because

0:32:11.076 --> 0:32:13.996
<v Speaker 1>I thought it m'd hold within its depths some answers

0:32:13.996 --> 0:32:17.116
<v Speaker 1>about the theme of the whole podcast, the slipping away

0:32:17.116 --> 0:32:20.556
<v Speaker 1>of certainty, the rise of doubt. And then we'd come

0:32:20.596 --> 0:32:23.436
<v Speaker 1>to the church, a memorial to another kind of search

0:32:23.556 --> 0:32:29.276
<v Speaker 1>for truth. One thing Ben and I share. We're both Catholic,

0:32:29.476 --> 0:32:32.036
<v Speaker 1>and these holy places make us light headed with the

0:32:32.076 --> 0:32:35.436
<v Speaker 1>sense of the eternal mysteries. It's one thing we've both

0:32:35.476 --> 0:32:38.116
<v Speaker 1>been drawn to puzzle over in this podcast, how the mystery,

0:32:38.236 --> 0:32:41.596
<v Speaker 1>the unknown, what was known only to God, had been

0:32:41.636 --> 0:32:44.556
<v Speaker 1>replaced by this secular idea of the fact, and then,

0:32:45.076 --> 0:32:49.196
<v Speaker 1>more recently, the fact had been replaced by data, a

0:32:49.236 --> 0:32:52.076
<v Speaker 1>wholly new kind of mystery, with its own priesthood, but

0:32:52.476 --> 0:32:56.436
<v Speaker 1>without the love. Water flooding a valley, leaving it a ruin,

0:32:56.876 --> 0:33:01.476
<v Speaker 1>a wreck. We sat inside for a long time, watching

0:33:01.476 --> 0:33:05.076
<v Speaker 1>birds fly in and out, tending to nests in the rafters.

0:33:05.596 --> 0:33:09.116
<v Speaker 1>We heard picnickers outside, popping the lids on soda cans.

0:33:09.636 --> 0:33:11.516
<v Speaker 1>I felt right that we'd come together, the two of

0:33:11.596 --> 0:33:16.716
<v Speaker 1>us with a microphone and a recorder. We are I am,

0:33:17.356 --> 0:33:22.276
<v Speaker 1>You are, by cowardice or courage, the one who find

0:33:22.356 --> 0:33:27.756
<v Speaker 1>our way back to the scene, carrying a knife, a camera,

0:33:28.436 --> 0:33:32.796
<v Speaker 1>a book of myths in which our names do not appear.

0:33:40.876 --> 0:33:42.916
<v Speaker 1>When we were first struggling with what to call this

0:33:42.956 --> 0:33:47.956
<v Speaker 1>podcast the Last Archive, the Lost Archive. For a long time,

0:33:47.956 --> 0:33:50.916
<v Speaker 1>we'd wanted to call it the Evidence Room. Somehow, I

0:33:50.916 --> 0:33:53.676
<v Speaker 1>think that name was already taken. There'd been some talk

0:33:53.676 --> 0:33:57.916
<v Speaker 1>of getting around that by calling the show Jillipour's Evidence Room.

0:33:57.996 --> 0:34:01.916
<v Speaker 1>But I'm glad my name never appeared. It's not my room.

0:34:02.076 --> 0:34:06.396
<v Speaker 1>It never was my room. This podcast started out as

0:34:06.396 --> 0:34:10.156
<v Speaker 1>a kind of murder mystery. Who killed Truth? There's no

0:34:10.236 --> 0:34:12.556
<v Speaker 1>royal answer, or really, if I'm being honest, there are

0:34:12.556 --> 0:34:16.796
<v Speaker 1>only two answers. First, everyone killed truth, the dead, living,

0:34:16.836 --> 0:34:19.556
<v Speaker 1>the old, the young, the left, the right. The evidence

0:34:19.636 --> 0:34:23.996
<v Speaker 1>is everywhere a collapse of trust. And Second, truth isn't dead,

0:34:24.076 --> 0:34:27.036
<v Speaker 1>even though very often it's buried. A lot of it

0:34:27.076 --> 0:34:29.996
<v Speaker 1>is floating around in archives and libraries and laboratories and

0:34:30.076 --> 0:34:33.476
<v Speaker 1>classrooms and city halls and town commons and old churches.

0:34:33.956 --> 0:34:37.516
<v Speaker 1>It's a question of finding it, saving it, deciphering it.

0:34:38.836 --> 0:34:41.796
<v Speaker 1>Who killed truth? I wish I could offer up a

0:34:41.796 --> 0:34:45.076
<v Speaker 1>tidy ending, a big reveal, gather all the suspects into

0:34:45.076 --> 0:34:49.356
<v Speaker 1>the conservatory, tell the story of my investigation, explain my methods,

0:34:49.716 --> 0:34:53.996
<v Speaker 1>list every clue, and then in a flourish unmasked the murderer.

0:34:54.836 --> 0:35:01.236
<v Speaker 1>But I can't, Ben and I left West Boylston and

0:35:01.236 --> 0:35:04.436
<v Speaker 1>the Old Stone Church and the Beaman Memorial Library and

0:35:04.556 --> 0:35:10.276
<v Speaker 1>trudged back into the Last Archive. We've met so many people, teenagers, scholars,

0:35:10.396 --> 0:35:16.676
<v Speaker 1>dog scientists, archivists, artists, farmers, hypnotists, naturalists, poets. We'd been

0:35:16.916 --> 0:35:21.116
<v Speaker 1>so many places, We dived into so many wrecks and

0:35:21.276 --> 0:35:26.316
<v Speaker 1>come up mainly only with more questions. Cleaning up the

0:35:26.356 --> 0:35:28.796
<v Speaker 1>Last Archive, we got to talking about where we'd been

0:35:28.836 --> 0:35:31.636
<v Speaker 1>and what we'd found out, trying to put the place

0:35:31.636 --> 0:35:39.956
<v Speaker 1>in some kind of order. Yeah, theater tickets. Was there

0:35:39.996 --> 0:35:43.996
<v Speaker 1>ever an organizing scheme or like, these are things that

0:35:44.116 --> 0:35:46.796
<v Speaker 1>fit in this drawer? Yeah, Well, it's an archive without

0:35:46.796 --> 0:35:52.916
<v Speaker 1>an archivist, so that's always been sort of a problem.

0:35:53.036 --> 0:35:57.876
<v Speaker 1>Oh wow, Look, it's all the episodes, every single episode

0:35:57.876 --> 0:36:00.636
<v Speaker 1>of the Last Archive. How did those get here? That's

0:36:00.676 --> 0:36:05.876
<v Speaker 1>weird for the birds? His first bird walk, I guess,

0:36:06.676 --> 0:36:10.716
<v Speaker 1>And I'd like to have had a movie. Lstran LaVita

0:36:10.796 --> 0:36:15.036
<v Speaker 1>Hobby was a lady in complete commerce. Repeat after me.

0:36:15.956 --> 0:36:24.316
<v Speaker 1>I'm going to turn back through time and space? Did

0:36:24.316 --> 0:36:26.996
<v Speaker 1>you turn the light on over there? I didn't touch it.

0:36:29.076 --> 0:36:32.436
<v Speaker 1>I don't think that doesn't even that doesn't look like

0:36:32.556 --> 0:36:42.716
<v Speaker 1>artificial light. Ben, is that glowing? What's that sound? It's

0:36:42.756 --> 0:36:53.796
<v Speaker 1>almost like did you hear that? The Last Archive is

0:36:53.836 --> 0:36:57.196
<v Speaker 1>written and hosted by me Jill Lapour. It's produced by

0:36:57.236 --> 0:37:01.036
<v Speaker 1>Sophie Crane, Ben Natt of Haffrey and Lucy Sullivan. Our

0:37:01.156 --> 0:37:04.236
<v Speaker 1>editors are Julia Barton and Sophie Crane, and our executive

0:37:04.236 --> 0:37:08.316
<v Speaker 1>producer is Mi Lobell. Jake Gorsky is our engineer. Fact

0:37:08.396 --> 0:37:12.676
<v Speaker 1>checking by me Games. Original music by Matthias Bosse and

0:37:12.836 --> 0:37:16.956
<v Speaker 1>John Evans of Stellwagen Symfinett. Our full proof player is

0:37:17.076 --> 0:37:20.076
<v Speaker 1>Robert Ricotta. Many of our sound effects are from Harry

0:37:20.116 --> 0:37:24.116
<v Speaker 1>Janette Junior and the Star Jennette Foundation. Special thanks to

0:37:24.156 --> 0:37:27.916
<v Speaker 1>Anna Shaw and Steve Carlson at the West Boylston Beamon

0:37:28.036 --> 0:37:32.076
<v Speaker 1>Memorial Library. The Last Archive is a production of Pushkin Industries.

0:37:32.356 --> 0:37:35.516
<v Speaker 1>If you love this show, consider subscribing to Pushkin Plus,

0:37:35.556 --> 0:37:39.476
<v Speaker 1>offering bonus content like The Last Archivist, a limited series

0:37:39.556 --> 0:37:43.196
<v Speaker 1>just for subscribers, and add free listening across our network

0:37:43.436 --> 0:37:46.036
<v Speaker 1>for four ninety nine a month. Look for the Pushkin

0:37:46.076 --> 0:37:50.476
<v Speaker 1>Plus channel on Apple Podcasts or at pushkin dot Fm.

0:37:50.516 --> 0:37:53.036
<v Speaker 1>If you like the show, please remember to rate, share

0:37:53.076 --> 0:37:56.636
<v Speaker 1>and review. To find more Pushkin podcasts, Listen on the

0:37:56.676 --> 0:38:00.636
<v Speaker 1>iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

0:38:01.196 --> 0:38:05.036
<v Speaker 1>I'm Jill Lapour. I've had my share of magic Archives,

0:38:05.276 --> 0:38:07.676
<v Speaker 1>but this place isn't done with us yet. I left

0:38:07.716 --> 0:38:10.156
<v Speaker 1>my keys with Ben. He went back to check out

0:38:10.156 --> 0:38:14.156
<v Speaker 1>that freaky light. Nobody's seen him in weeks. I think

0:38:14.156 --> 0:38:14.996
<v Speaker 1>that's a good sign.