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tv   Andrew Aydin L. Fury and Nate Powell Run  CSPAN  October 11, 2021 7:00pm-8:01pm EDT

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view of government. we're funded by these television companies and more, including cox. >> cox is committed to providing eligible families access to affordable internet through the connect to compete program, bridging the digital divide one connected and engaged student at a time. cox, bringing us closer. hi everyone, welcome and good evening. my name is lauren artiles anne
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on behalf of bookstore, i'm happy to introduce this event. celebrating the release of the graphic novel run. i hope you are all well and safe. thank you for joining us virtually. events like this time think this one, [inaudible]
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ron's l. fury graphic novel. and nate powell his work includes the march trilogy, and the empire swallow me hole. and he is received the robert
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f. kennedy book award. the comic-con international award, and the walter dean myers award. anthony dixon, has been a fire fire with the los angeles -- and is john lewis's nephew. and jerry craft is a best-selling new york times bestselling offer. he's the creator of mama boys and a syndicated comic strip. he has won five literary awards, . tonight they will be discussing the first volume of run, a highly anticipated sequel to the march series. this is the graphic retelling of john lewis's life story. follows the aftermath and the -- campaign. as stacey abrams says, run shows the history and the
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pushback of those who refuse it and the resistance who believe changes not gone far enough. john lewis's story has always been a story of change and run is a vivid energetic works. without further ado. i'm excited to turn things over to our speakers. thank you.
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i can't keep enough praise on you. their work is amazing, your spirit is amazing. i know we should be talking about the book but i love you jerry craft. >> so run started, all the started with a campaign. the campaign, and i was serving as the congressman's press to secretary in 2008. it was a welcome change, and barack obama had won the primary, but for john lewis it was a difficult time. people didn't understand the breadth and depth of what he is done during the movement, and what he did after. so working on that campaign, we had a lot of meetings, talks, and suits and ties telling us this consulting thing or whatever. and we didn't have an answer. so he started talking about, we
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are just hanging out one night, we had a long day. we're talking about what we are going to do after. and some folks, was like i will see my parents, and i said i'm going to -- calm. and everybody laughed at me. look at the nerd. and then i heard, the nerd speak up, and said no this is a movement, and it's influential. and that's the first time i heard of martin other king in the montgomery story. but comics have been my refuge. my father was a turkish muslim immigrant. and comics have been the place i could go to read about people doing the right thing because it was the right thing to do. it was my salvation in some ways. and when he told me that, i went home and i read it immediately on the internet, i remember sitting there looking at this beautiful 16 page cover to cover comic book. julia how styles, rosa parks,
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and gandhi, in nonviolence and the media. and if we had all these conversations, and how to show john lewis's story, saying why isn't there a john lewis comic book. if they had a movement then why can't we do it again now. and there's so much more story to tell. i went back to the office next day, and we had one of those meetings. and i raise my hand, because that's how we still did it, and said you know, i think john lewis should write a comic book. and everybody looked at me like i had three heads. and he was sweet about it. he said oh. maybe. and it moved on. and we all know it that means in politics. and i just kept at it. i just kept asking him, john when you write a comic book, when you read a comic book. and one day, he wrote a campaign, and this is why his house, and there was a thunderstorm. i think it's appropriate when i think about it. there is a flash of lightning,
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and then there's a roar of thunder, and there's two things that john lewis was ever afraid of, snakes and thunderstorms. so he takes off, a 65 years of age, down a sprint. running back to the car. we all dive in as the rain starts to patter on the roof, we're sitting in their barring up the windows. and while the interim says one he has no again. and so i did. and he turns around and says i don't know what's changed his mind, but i believe it was his wife lily who was a librarian. and maybe it was a lightning also. likely literally struck. and zero carole do it. but only if you write with me. and that started this whole long journey. and it changed my life. and i'm grateful i have all these amazing friends to be part of this. and i just missed the congressman. so that's how it all started. >> wow.
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so i was impressed how you put the team together, and each team member grew up reading comics. because i only read comics. i hated books. so i had a marvel team up, and spider-man. so you can introduce your team, then we can talk about favor comics. and how they felt getting into this. >> sure i'll do the chronological. >> i was the next man to join. so congressman louis and andrew worked on a rough draft and we did this over the course of two years and i was just plugging away. and i was reading top shelf.
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. and i saw [inaudible] that's been an awesome idea, for graphic novels. but never there is no there was no artist yet really so just in i put it behind me. so a week or two later, chris gave me a call, and make sure that i had seen the press release, and this is you know i want to strongly suggest you try out for the role of artist for this. so that have to be stylistic, and these tracings that i made. many so i can balance the representational figure drawing. and settings and locations, with very subjective, emotional
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and charged weird picture external experiences i put in my book. and that day, that was a young john lewis in theory, and there was a fundamental kind of rural level and a young person. and his exposure to the movement is nonviolent. i'm where hitting on such a personal unemotional level. and my parents are from mississippi and it cannot be overstated, with the similarity with the land, the top dog, roughly the food of the culture, and having a basic working knowledge of the location that i would be there the drawing would help. and the congressman and after about two weeks we clicked reallywell and moved straight ahead . then in 2016 i finished work on in 2016, i finished a big three
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which was basically chopped up into a trilogy which was not only beneficial for the life and the scope of scale of march but also this, in some ways, it hurt our strategy, and other ways, early on it was very helpful to not make this 300-page brick of a book. we got book one way but after 2016, when i wanted to and had to be involved with this project was, they sickly, i had other were graphic novels that i put on hold for a few years. was time to hit those books. which brings us to theory. one >> furry, this is your first graphic novel. and you came on form run. but was it like coming in after
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a legendary start? you see these great things coming saying, okay, handing it over to you. why was that like? >> it was a lot. when [inaudible] very exciting, before, this i didn't want to be in comics but i got one [inaudible] and i saved up enough money to take a chance on comics and i started out with a little -- cartoon strips. and then at the end of 2016, i started feeling a little dissatisfied with the content that i was coming up with. i just felt unsure if i was happy with what i was contributing to the world. i want to make more serious
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comics, so i started making my own graphic novels and i got an email saying, hey, i heard you'd be interested in another project. and i said, yeah sure. and it was -- when they said it was a sequel to march i said, oh my god. it was intimidating. i have to be honest, i almost said no but my boyfriend said you have to say yes. >> i can imagine in both the subject matter but also it won every award there is. >> oh my god, i'm going to mess this up. but it was such a great experience. i'm glad i accepted it. it was awesome. >> and anthony, do you want to hop in and tell me if you were
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a comics reader as a kid and how you felt when you saw the proud docked of the congressman's life in graphic novel form? >> absolutely, i never once picked up a comic book ever. i watched a lot of cartoons and my aunt used to always make us read. and until i got older, probably older, like in my twenties, i was with a guy who read comics all the time. and they were just around, and i would pick it up to read it. and when you said super -- silver surfer back in the green room, why was when -- i kind of to get. but when growing up, i used to watch cartoons and stuff like that but when you look at a book that has someone that you have idolized all your life,
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yesterday, nate said that he was doing comics, reading comics, here. when i was there in march and i saw one of my people on this comic, i was sold. it -- i could read a comic book i actually know about. it wasn't something that was created and this guy goes to a bar and then next thing you know he's flying through the sky. no, this guy walk through alabama. so i was pretty stoked to read the book like that. growing up, i can honestly say i didn't pick up comic books. but i enjoy them now. >> great, as i was reading it. i guess because the graphic novel form and because of the whole super -- superhero notion i wished at
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any moment i could shoot i beams out of my hair and get out of certain participants. but, back to andrew, what kind of relationship where did you have working with the congressman? how much input did he have, how often did you talk, what was that process like? >> we kind of got it down to a little bit of a science. we had our functioning routine. but by this point, i think the hardest part about this was the actual research his memory was fantastic, that was a joke among his colleagues from the movement. there, like if you wanted to know the answer, you asked john lewis. during the interviews, i interviewed him, the most important part is that the narrative is in his voice. he is an old storyteller, i mean, like how many of us remember the chicken story? it's an iconic part of it. and the --
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some of the chickens were a bit more productive than some people in congress today, at least they produced eggs. that was john lewis's joke. don't blame me. he had very specific ideas and you had a way for saying things. it was very easy for people to gloss over that. they want to, i don't know how to put, it but they want to smooth it out, but this is a way of speaking that the congressman had growing up in the forties and fifties and rule out alabama. so that part of it was there is one where he talks about the first anniversary of selma and i ask a, did much happen? and he said i don't think there was much to do made with that. and capturing that voice. and you get the next level of this where you have to go through the primary sources and you have to reconstruct the
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blocking and the events themselves and who says what, because they crept incredible records of this and so we were able to use that. my small lane in this that i am most proud of is we were able to create a true nonfiction graphic novel, every quote that incited a sore sable. where they have these big debates, how do you recreate that? how do you know what they actually said in the late night meetings? but they had such a good system for this, they were keeping meeting notes. and we were able to use that to know exactly what they said over the course of the argument. that means that the discussions you are witnessing in the book are actually the discussions that they had. we had to abridge them somewhat, because there are a lot of people for the narrative sake, we have to keep it smooth. but in terms of what they said, when they said, and how they said it, all of this access to the documents that we have
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where we created. so john the was, the fun part for me, was when i give him the script and finally the historical luggage, you can see more here, and i would call him on the phone, i'd show up at his, office you can almost see him go back in time. and relive that moment and it would trigger memories and you could feel the emotions come back as if he was back. there i miss that. i miss that and that was the thing he was so much fun about doing this with john lewis, was that shared space. and that shared brain that we got to have. where i could and i could make fun of him sometimes, and when he would say i never did that. i thought yeah what about this. and he was a stop boy. it was just, it was awesome.
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all of the other things that were going on, everything else it was our own little special world. and i just really miss him. >> how early on did you decide, that it would take three books to capture all of this? >> that's a funny story actually. at comic-con in 2012, and so -- has his books out nate has his books out. and i think i'm the man, and i can get out everybody. and they're celebrities like wow this is gonna be big. and all the comic creators are saying shirqat sure. it's gonna be huge. and so we are sitting at the booth i remember and it was like dude this is going to take me like years to draw. and i said i don't think we have years. we have to get on it.
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you know and i was like what if we split into. and then nate said no that's a lot. and i said were both three. and then nate said maybe we can do that. and from there it was like all right, we'll go back and try to rewrite one. i will call a trilogy. and we'll see what happens. and part of what is in iran, is what we cut from the trilogy to make it a trilogy. so it was really nate telling me the business you know how long it takes him to draw and i'm factoring this in. and remember john lewis you know it worked for four years to get to that point to have a publisher and you know we had so many publishers just saying no no no that will never work. and later it was like oh what a genius idea. you know. and it was really nate, who helped basically help me
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understand how much can be done in a timeframe, and let me go back and rework it with the congressman. >> threatening. i >> was just gonna say, that moment of transition into what became run, that was halfway through drawing book three at a serious pace. just an absolute blur of nine months, and we are having these daily check-in's. one of those was like, we need to start talking about mid-65, going into 68 and is this a you know it just involve so much. it involves racism yeah, and i think we're talking about being
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in a higher concept before we are talking about the practical issues. but the aggression was, is it or is it not a march book. so we ultimately had to pass that ball back to congressman lewis, and the bottom line was throughout his work, and important for congressman lewis 's impression, was the end of the movement as he knew it. and he tried to be upfront that this was his objective first person account. and victories are victories, but it doesn't mean that a final victory has been launched. so let's make this the end of march, and that frees us to make something different than it needs to be. >> so one of the things to me, you know all the books read like a movie. like there's a lot going on,
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and it's like edge of your seat kind of thing. so the interaction between the words and the visuals, you know i commend you nate, and fury. so let's talk about some of the artistic parts. between black and white versus color. and also you know l. fury like you having to look at that style, and then bring what you know rig something your own artistic ability to it to. so either you can talk about that. >> i guess i will start, and i'll move it on over to fury this is really furey's department. previous to march, i did a book called -- which was set in houston texas, amidst the backdrop of a civil rights movement in history.
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and a lot of guys got this on the page, and essentially it functioned as a boot camp, for being able to tackle march. and one of the things i worked out was working gray wash so on a fundamental level feel like anybody who's born after the 1960s will relate to history prior to 1970 in black and white. particularly people who are from the 19 fifties and sixties you know we remember the movement of the kid as a kid in the eighties. and we all relate to photography and the grainy footage of black and white and it's important that this is how are processing this in our mind. all of us. virtually all of us to just go with it. and the other practical concern
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is, it takes twice as long for me to hand paint something in full color, and what value does it have, virtually none. so thankfully black and white it still is kind of the gold standard in graphic memoir. so it's nice not to get hung up on that, and just go with black and white and it worked. >> so fury moving past march into your transition. >> yes so it was difficult to bridge that gap, between nate and my own but i ultimately just decided to draw it like my instincts told me to draw it. what i did learn from nate, or barred from nate is just a quick expressive line and it's
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not something that i naturally do but it makes for such good action on a page and a motion and grace and backgrounds that i did try to carry that over and make the process a little faster and just to make it like a cohesive piece. as for black and white, -- . i'm sure black and white is challenging, because you can't bring any color. you're working with light and dark, and it was tough and i have been black and white before, but it was digital no undue at shoulder undue difference so many times, and it was a learning curve. but yes and another thing i did
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in my process i typically, i began thinking traditionally but i hadn't done the black and white in quash before and that's something i learned on the job. >> wow. >> yes ahead. >> no you finish i go ahead. >> well i think the one difference, i felt vigils are in my process, because you know you can move things around i'm not great with just knowing the lay out on the first go. and then i would print the pencil out basically faintly on the paper, and then you know. >> you have to go through so much you know so many actual
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people like if i want to character adjust may come up. but you whether you had to deal with harry belafonte, your city points here, that must have taken quite a bit in the past for both of you. >> it was a challenge, especially in the fifties and sixties, there are million pictures off a person's face from different angles. sometimes you only had two angles with which to work and you have to use your imagination. so that digital art was helpful for me because i could get the face right and as soon as i got tracing paper, i could finish it out, add more lines. >> anthony, when you read the book, what how much was the
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information you to you, how much did you actually learn? where you defied by any of it or will you familiar with mrs. stories? >> i would say i learned a lot, but there was a few of the stories that were kind of familiar with it actually enhanced the stories more. what being a kid, you would hear the stories, you would hear different stories were on different things when -- i'm sorry, events, and usually would be because it was another story that brought that story about. one of the stories that why would like to tell is, my son, he was watching the freedom rioters documentary. well i had him go back and read the story about the freedom
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riders. he called me up crying one night and said, dad, i don't know that uncle john was beaten. i said, yeah. i said, what else? he goes, he was arrested two. and i go, yeah. so we fast forward to a few years ago when we were sitting in atlanta and my uncles home, my uncle comes back and he's back from d.c. and you comes out of the office and it's kind of funny because you think about all that he's done whenever there that he's traveled when he had his pyjama pants on, and it was this one -- myself and my son we were in the kitchen where and were in the kitchen and talking, and stuff like that, and i go how are you? are you doing? and he says i'm good.
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he's one -- i go ask him? and he says, no. and i say, ask him! why he sits up and goes well, but was it like? wongel john says, what was would like? and he says, when you were beaten. and he says, oh. well you started talking about selma and montgomery and all these different places. and as he's talking, my son is getting tears in his eyes and he's speaking about all the stuff that he did. this is from when i got beaten, and tells him the story of the moment -- here he is, in pajamas, and a t-shirt, telling the story, but it's stories that you read about the marching, and the
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protest, it's really touching when you see those two sitting at the kitchen table talking about all the things that happened throughout history. to me, it was an actual, it was a moment, it was really cool. >> so andrew, nate, and jerry, i know that when you get into projects, you guy -- you dive into it and give it all, but you've had to ride about and draw horrific events. did you lose sleep? did it take a toll on you? what was that like? >> you definitely developed, you kind of have to really set yourself, remember what your job actually is. one a lot of ways, it helps me to remember that congressman chose me to tell his history through his eyes in his words. and a lot of that applies not
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only to the violence, but also to the verbal, racist, attacks. just being the right voice at the drawing table and being like, i've got a job to do, it's my job to do it right. and a lot of times, yeah, it was learning to trust yourself. it was one timed like that just to go pet your cat and be done for the day, a couple hours early. usually, that was around book. to there is some rough spots for me at the end of the day, it really comes around to recognizing how you're going to be at the best spot at the drawing table to deliver what you need to deliver. but also bringing some of the horror and and hurt and shame on the page. that has value in terms of being able to tell someone else 's story as they feel it needs
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to be told. so not necessarily an injection of self into the story, but recognizing that, yes, as an artist, the feeling that we are getting from these accounts and from this history that has enough power and the power to be detected hopefully within the artwork itself. >> >> jerry, one more for, you didn't make you look at your surroundings more differently? because you said you grew up in mississippi. >> i think it did, in the general sense, what i feel like when i did the preliminary researching and re-reading and really diving into congressman lewis's story has prepared to drop march, that came at the end of a couple of years in which i was really, like i've been living in the lower midwest and southern indiana for 17 years now. so it took me several years to actually recognize what how
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many different dimensions american racism exists. i feel like i did recognize the depth of my own baggage, even by coming from a point where, thanks to the ex man, and the punk in the 90s, awakening my social conscience and getting into a very strong, anti racist egalitarians standpoint, fairly early, there's still a lot of baggage will and assumptions that were carried from baby boomers into my generation. and a lot of those assumptions and that baggage have not come to pass. my parents are cool, but specifically when -- between myself and my parents were, my parents are cool. what specifically, march book to, it started conversations
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when -- kick started conversations with them as 70 year olds about the kinds of complicity in the kind of ignorance that they had my coming of age at the end of the jim crow mississippi. so it had a pretty personal impact over the course of the next several years. >> right, fury? >> it's a deeply emotional space to have been in for so long, for sure. i have drawn violence before, i had to look at one of the shotgun wounds will you -- you can't even compared to when you're drawing people. when you are studying someone's face, trying different angles, trying to get them just right, when you form an attachment to them so you're always you have google open another window, and the first thing that comes up
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his birthday to death date. there was a palpable sense of relief at times when when -- i was just so used to seeing people dying young. it was emotional for sure. yeah. just during this project at the end of every day, i've never watched more garbage television than when i worked on run because i needed to like, at the end of the, day just, like, release all of that. >> that's the thing, people think that it was so long ago but my own dad talked about drinking out of a white water fountain and being chased and things like that. word one generation removed from that, you know? >> yeah. you know, i think i kind of,
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when i would watch historical when things about that point in history, i think you kind of form this invisible armor where you see it, and you assume that maybe it was exaggerated for narrative purposes. but when you have -- when you are drawing from a photo of three activists that are dead in a ditch, it's like, oh, yeah, this is all real. and i knew that was in a shallow sense that i didn't really know things when you're engaging with this for ten hours a day. >> i know we only have a couple of minutes left and then we have some audience questions. for the three of you, there are
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scenes where if you put it in color change the name, it's bright out of today's headlines. does it make you see things differently now when you see the news about police brutality, systemic racism, the voting act's rights being changed in so many different places? what does that do to you and your head space? >> i think when you see the context for today, and made it so much more prone for us to do ride and get that context to everyone. i remember we were working on these stories and i would learn something new and it was something that really struck me. i would be angry because i wasn't taught it in school. i would be angry because no one had explained to me that this is the way it was. especially in the post obama
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era, when we're talking about being a post racial society and the congressman would come and say, come walk in my shoes and i'll show you change. but reading the stories and putting them together and recreating them it made me angry because i always wanted to know why, if i grew up in atlanta, where in this district why -- is history being kept from us? we see it in today's context, it's only because we haven't taught it to everybody that people are shocked by it. everyone knew this history. everyone would say, okay this is a part of a centuries-long systemic racist policy and system that has existed in this country without fail. now, i think what we're seeing
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in some ways is the volume being turned up on perceiving it. not that it necessarily is happening more, it's we are able to perceive it, now whether it is the internet, whether it's a camera phone being able to require these instances of violence. we are seeing, it's like the rodney king effect. once that was recorded and it was talked about, there was the shock, but it wasn't. you t now we>> as we look at it nowl should be angry, but we should also be working to make sure that every young person learns their history so that they are not shocked when this happens, they are motivated to act and do something about it and to end the cycle. also, specifically, when we're talking about young people seeing other young people doing something about it in 2000 intends in the 2020's, it's important to recognize that,
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yes, like the civil rights movement got so much of its organizing strength and its number specifically from young people, including, like, children getting involved because they needed to and had. to >> that too, had such a strong precedence. >> how do you feel about this book? do you see it being used in school curriculums? >> that's the nuts thing, it's already on curriculums. we were getting tweets the other day with consumers saying, this is on my syllabus. that's amazing, this is why we do. it that's the ultimate goal, we are so proud of this. before, march before, run there was something called the benign word problem. the southern poverty law center was essentially a survey that found most students graduate from high school only knowing nine words about the civil rights movement. and for us, that was a goal. , to attack and eliminate that problem and i think that
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marches bought in just about every major school system in america. we made a major leap, as a congressman would say, we made a major down payment on change, so numb i think of saying to add run being added to the curriculum in other school systems will be doing it soon. that gives me hope because, as we talked about, we see these memory -- waiting laws where they don't want to -- without explicit lee saying that there banning march from the classroom. we have to be active we've, got to fight back. there's a reason that was -- that the rights of miss supremacist use wonder jim crow
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against us in the modern era. >> as anthony said, there are stuff that we did learn in, school and to have it not only in school but also as a graphic novel that has had so much information and graphic novel was reached out to visual learning what. but, you know, to bring that in and actually, wow, i'm going to learn more about this. who's that? it's the black panther party. when was that? will >> you our time is getting short, but there was something when andrew mentions comic-con, i have to talk about how my uncle was excited by comic-con and that year when he walked around comic-con with an overcoat and a backpack on. it was afterwards when he
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talked about that so much that was an inspiration because i have a lot of coworkers who have young kids when so many of my coworkers were, sons and daughters, were asking, oh my god, that's, nickel that's your uncle. instead of sending them gift cards and stuff, i will send them copies of march, the trilogy of march, one, two, and three because he's young kids today have an interest that much, and they have a book. what he was so happy because my cousin was just talking about it and how much he enjoyed being out there and how much all these kids followed him around. i just wanted to throw that part out there about comic-con and how he was like that totally digging it. >> very cool. what so our fellow graphic
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novelist is on and wants to know if front is a trilogy? >> i think we've got -- well thanks for the easy question, joel. when i designed it when the congressmen and i laid out the story, it was as a trilogy, but i think we have come to come to what we call a quaker consensus on what we do next. we worked so hard to get this book done and to do it right up until the congressman passed way, it hurt one, you know. it was deeply painful to lose him and to go through this. what i think we just have to decide, once we get through this, once we talk about the book and get through this too and all that sort of stuff, we'll come back together and we will think about it. i don't know with the right
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thing to do is yet. for right now, it is just this book. if we decide something different, if we have a consensus on it and everything was -- everyone wants to do, it we will talk about it. >> one of the things that i liked about march two was the will you inner spicing up seeing barack obama accepting the presidency. what do you think? >> the political campaign -- the political narrative me was just dying to write that, about the 86 campaign. it was supposed to be about the relationship between john lewis -- and john lewis and julian bond. you can understand the politics about black politics in this country without understanding the relationship between those two men. julian bond was nominated vice
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president when he was too young to accept it in 1960. becoming more famous than john lewis was even though john the wiz had been the most well-known figure after selma, right? and this relationship you see in run, we are setting them all up at the end of the next book, john lewis writes a letter to julian saying, you should write -- you should run for the fifth district seat in georgia. and julian openly says, no, i am not going to. that's one and the youngest run. then john the us and julian comes back and run against each other 1986. it's like a real life opera. it was so meaningful to me that i deal with julia because i got to see the congressman and julian reconcile. i got to be with him. julian called my phone to get to the congressman. i was giving the messages. i have this old voice mail from julian was before he passed
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where he called to wish the congressman a happy birthday. will i get to see, i tell the story when i saw julia with the congressman in texas in 2014 and comes up to me and he goes, so you did that comic book? well, i did it first. they were just incredible -- an incredible pair. and it's amazing. i wrote this on the and notes of run, the reason s and c c records are not as well kept after like at the onset of 1960 and on where it is because julian left. what you see the student voice become less and less frequently published, it's things like that that was the idea of the underpinning. i think of john lewis and julian were still with us i think what they would've liked
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it. >> i think we only have time for one more question. a quick. one had to decide on the title? >> what the idea was, john lewis was an activist, first then he became a public servant. it was to give people a roadmap. first he in march as an activist, then you run as a public servant. john lewis spent his whole life trying to guarantee the rights to vote for everyone, he also wanted was more empathetic, better public servants. and that's where the title was really about. this is john lewis's long run. how he became a public servant after being an activist. >> got it. okay. fury, what do you think about this kind of graphic memoir brings to the table in terms of engaging readers differently than texts only books are different terms of reaching different audiences? >> i think it's important
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because i'm a person who was -- who is reading comprehension is not great. what reading march for the first time was, it was such a great experience. i feel like if all of my textbooks in school had been graphic novels i would be a lot better educated. yeah, i kind of lost the question because my memory sucks, too. what >> just in terms of what a graphic novel brings to the table as opposed to text only. but you answered it because you said, if you had them when you are a kid, you probably would've aced history. >> yeah. and i think that it's such an important story to bring to the wide audience wall. >> did you ever see any other graphic nonfiction that inspired you? well >> yes, i would say what
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the books which impacted me the most, i'm looking off camera at my bookshelf, why obviously, you have a classics when comics like cannon, mouse, pursue police, they laid a lot of groundwork well. it goes from using more formal choices, like scott mcleod, when it sets up understanding comics and and making comics. but when it gets into more personal territory with what john personally know, in terms of new modern nonfiction comics essays, other peers for my generation, i would say one of the bigger early influences would be a cartoonist when the
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driver's seat/identikit family narrative and her studious eye for detail and history really showed me like, around 20, ten 2011, a really powerful example of how to lay out the kind of storytelling that i would round up doing with march. that means blending it well with my own intuitive, dreamy storytelling too. >> the black panther party by david walker. >> excellent, excellent. well >> the big one that i show the guys back in the day was kyle baker, the diary of not turner. >> absolutely. >> that was foundational in terms of telling black history
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through comics. there was also -- >> no words at all, correct? >> what there is one some, but not in the same way. and then there's also -- shoot, i'm forgetting his name. but the guy who did the king comics. he is your friend, anderson. >> well -- >> that's right. i had to show the congressman all the spokesman we were talking about it just to give him a sense -- the other one we talked about wasn't necessarily nonfiction but it was income neat-o by matt johnson. >> oh yeah, absolutely. what >> i could say for a guy who was a non-comic reader, all the books that i have read so far have been one, i hate to say easy to read, but they have
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been great. because when i read even training manuals, or something that was given to me at school, but when i kept -- picked up the graphic novel it was nice to explore other ones. well so thinking about graphic novels, i like it. i think they're excellent. well being on this virtual talk with some amazing folks, here i can't wait to read the book. i am going to get it. what they made me a comic reader. well >> i'll send you a package, man. >> well i'll drop you that address. >> when nick, could you hold it up? >> save it for later. close to the camera. what >> basically, a mix of
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memoir that is not fiction and mostly covers last five or six years of being 11 america filter through the lens of parenthood and a breakdown of what we've all been through at a level of that, 48-year-old can process even though it's infinitely darkened complex. >> let me know, and i will swap you. >> right on. >> so i think mom is about to come on and say that it's time to cut the lights out and go to bed. so do you want to talk about where they can order their copies from the store? >> was gonna say thank you so much for participating in this thoughtful and wonderful discussion. thank you for your moderation, jerry. please, if you want to learn more about this fantastic book and purchase book run, was head to the harvard bookstore.com.
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what thank you all so much for joining us tonight. on behalf of harvard bookstore here in cambered, massachusetts, have a good night. keep reading and please be. well thank you so much everyone. when >> you probably have that too. >> yes!
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page with the title of his book unsettled. >> i am amanda director of adult education here in washington d.c. at the international spy m

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