WEBVTT 00:00:00.000 --> 00:00:00.810 align:middle line:90% 00:00:00.810 --> 00:00:04.950 align:middle line:84% Warning-- this is the work of the imagination. 00:00:04.950 --> 00:00:09.150 align:middle line:84% Not a fiction, per se, but a written, social gathering 00:00:09.150 --> 00:00:14.370 align:middle line:84% of seemingly juxtaposed, distant realities. 00:00:14.370 --> 00:00:17.070 align:middle line:84% The ideas expressed in this talk are mostly my own. 00:00:17.070 --> 00:00:19.170 align:middle line:84% That is, I have come to them and they 00:00:19.170 --> 00:00:22.110 align:middle line:84% to me as a result of years of looking and listening 00:00:22.110 --> 00:00:25.830 align:middle line:84% to all the categories of poetic evidence available to me 00:00:25.830 --> 00:00:27.430 align:middle line:90% on the subject. 00:00:27.430 --> 00:00:33.630 align:middle line:84% In other words, this is a real talk, not a found one. 00:00:33.630 --> 00:00:37.290 align:middle line:84% And that it would not for one second or six seconds or even 00:00:37.290 --> 00:00:41.610 align:middle line:84% 26 seconds be a real talk without the imagination. 00:00:41.610 --> 00:00:44.780 align:middle line:90% 00:00:44.780 --> 00:00:48.170 align:middle line:84% This talk owes to its central energy-- 00:00:48.170 --> 00:00:50.570 align:middle line:84% this talk owes its central energy 00:00:50.570 --> 00:00:55.760 align:middle line:84% to imaginative truth, not history. 00:00:55.760 --> 00:00:58.400 align:middle line:84% But it is also important to cite that this poet believes 00:00:58.400 --> 00:01:00.140 align:middle line:84% that much of what we think of as history 00:01:00.140 --> 00:01:04.610 align:middle line:84% has been, in fact, the work of imagination, 00:01:04.610 --> 00:01:09.740 align:middle line:84% or the imagination of many, possibly even 00:01:09.740 --> 00:01:13.550 align:middle line:84% a total erasure of truth before it 00:01:13.550 --> 00:01:20.000 align:middle line:84% was allowed to continue or shape itself into fact, 00:01:20.000 --> 00:01:22.160 align:middle line:90% or rather, non-imagination. 00:01:22.160 --> 00:01:24.950 align:middle line:84% Again, meaning that we really do live 00:01:24.950 --> 00:01:30.830 align:middle line:84% in a very sinister, full of sense and changing truth 00:01:30.830 --> 00:01:33.830 align:middle line:90% poetic realm known as reality. 00:01:33.830 --> 00:01:38.520 align:middle line:84% A draft, we live in a draft, if you will, 00:01:38.520 --> 00:01:42.470 align:middle line:84% of an unfinished poem full of official, unofficial, 00:01:42.470 --> 00:01:47.570 align:middle line:84% and fabricated material and documents. 00:01:47.570 --> 00:01:49.370 align:middle line:84% Thus, there are few things that I 00:01:49.370 --> 00:01:53.990 align:middle line:84% would like to state up front, personal things. 00:01:53.990 --> 00:01:59.270 align:middle line:84% I turned 50 years old in 2013, as did 00:01:59.270 --> 00:02:02.300 align:middle line:84% the work of historical imagination 00:02:02.300 --> 00:02:03.650 align:middle line:90% that I'm about to discuss. 00:02:03.650 --> 00:02:07.280 align:middle line:90% No, not discuss but worry. 00:02:07.280 --> 00:02:09.139 align:middle line:90% Langston Hughes had a term. 00:02:09.139 --> 00:02:14.300 align:middle line:84% He would say, the poet shouldn't be about the poem. 00:02:14.300 --> 00:02:17.420 align:middle line:84% The poet should worry the material. 00:02:17.420 --> 00:02:20.760 align:middle line:84% Not approach it dead on, to work around it. 00:02:20.760 --> 00:02:22.160 align:middle line:90% Not discuss, but worry. 00:02:22.160 --> 00:02:26.930 align:middle line:84% And hopefully, I will worry it as much as it has worried me. 00:02:26.930 --> 00:02:29.600 align:middle line:84% The question at the center of this open wound, 00:02:29.600 --> 00:02:34.130 align:middle line:84% or wounds, if you will, is if the truth is not 00:02:34.130 --> 00:02:39.440 align:middle line:84% destroyed but never established, as if never existed, 00:02:39.440 --> 00:02:44.120 align:middle line:84% is it still possible to create a purely useful documentary 00:02:44.120 --> 00:02:48.530 align:middle line:84% poetics memory or responsible aesthetic practice? 00:02:48.530 --> 00:02:53.370 align:middle line:84% Or does the very and mostly conflicting material 00:02:53.370 --> 00:02:56.960 align:middle line:84% immediately enlist the artist in a form of extended 00:02:56.960 --> 00:02:59.530 align:middle line:90% and creative cover story? 00:02:59.530 --> 00:03:02.140 align:middle line:84% Now, when you hear a term cover story, 00:03:02.140 --> 00:03:04.760 align:middle line:84% you have a sense of a definition for yourself, 00:03:04.760 --> 00:03:07.250 align:middle line:90% people, what a cover story is. 00:03:07.250 --> 00:03:09.230 align:middle line:90% We know cover, right? 00:03:09.230 --> 00:03:09.920 align:middle line:90% I need you now. 00:03:09.920 --> 00:03:11.570 align:middle line:90% I need you. 00:03:11.570 --> 00:03:14.150 align:middle line:84% Trust me, I'm doing the hard part. 00:03:14.150 --> 00:03:16.220 align:middle line:90% Cover story, right? 00:03:16.220 --> 00:03:16.820 align:middle line:90% OK, good. 00:03:16.820 --> 00:03:18.278 align:middle line:84% Because we could try that together. 00:03:18.278 --> 00:03:21.020 align:middle line:90% 00:03:21.020 --> 00:03:23.240 align:middle line:84% Extended and create a cover story. 00:03:23.240 --> 00:03:29.870 align:middle line:84% A dangerous-- that's a funny thing about handwriting 00:03:29.870 --> 00:03:30.710 align:middle line:90% when you scribble. 00:03:30.710 --> 00:03:35.300 align:middle line:84% Anyway, I was 45 days old when the event occurred. 00:03:35.300 --> 00:03:38.510 align:middle line:84% And my mother said that upon hearing the news on the radio, 00:03:38.510 --> 00:03:40.960 align:middle line:90% I cried all day. 00:03:40.960 --> 00:03:41.960 align:middle line:90% That's what mother said. 00:03:41.960 --> 00:03:42.835 align:middle line:90% I didn't believe her. 00:03:42.835 --> 00:03:44.270 align:middle line:90% But that's what she said. 00:03:44.270 --> 00:03:46.910 align:middle line:90% I've been crying since '63. 00:03:46.910 --> 00:03:48.270 align:middle line:90% And a good essay should cry. 00:03:48.270 --> 00:03:50.630 align:middle line:90% She didn't say that part. 00:03:50.630 --> 00:03:54.530 align:middle line:84% My aim is not to point fingers or to prove or convince 00:03:54.530 --> 00:03:55.640 align:middle line:90% you of anything. 00:03:55.640 --> 00:04:00.200 align:middle line:84% I won't even mention aliens in such poetic collections 00:04:00.200 --> 00:04:04.910 align:middle line:84% as "Leaving Saturn" by Major Jackson or "Life 00:04:04.910 --> 00:04:08.805 align:middle line:90% on Mars" by Tracy K Smith. 00:04:08.805 --> 00:04:09.680 align:middle line:90% That's kind of funny. 00:04:09.680 --> 00:04:13.370 align:middle line:84% I have friends who've been writing about sort of aliens. 00:04:13.370 --> 00:04:16.130 align:middle line:84% You can't study JFK and not have the aliens come in. 00:04:16.130 --> 00:04:17.630 align:middle line:84% You can't even go to Arizona and not 00:04:17.630 --> 00:04:21.350 align:middle line:84% have the aliens come in since I've been here. 00:04:21.350 --> 00:04:23.240 align:middle line:84% It's kind of funny when you think about it. 00:04:23.240 --> 00:04:25.580 align:middle line:90% It's a weird-- weird bedmates. 00:04:25.580 --> 00:04:29.960 align:middle line:84% But they actually belong together. 00:04:29.960 --> 00:04:32.180 align:middle line:84% I simply want to share with you very briefly how 00:04:32.180 --> 00:04:36.200 align:middle line:84% I discovered that I was writing very bad, cover story, 00:04:36.200 --> 00:04:38.965 align:middle line:84% government approved poetry and how I taught myself to-- yeah, 00:04:38.965 --> 00:04:41.090 align:middle line:84% there's such a thing as government approved poetry. 00:04:41.090 --> 00:04:42.890 align:middle line:84% And how I taught myself to be on guard. 00:04:42.890 --> 00:04:44.890 align:middle line:84% You know, poets think they're radical, you know? 00:04:44.890 --> 00:04:47.390 align:middle line:90% No, not my work. 00:04:47.390 --> 00:04:52.760 align:middle line:84% Guard against the many types of fabricated films, i.e. 00:04:52.760 --> 00:04:56.450 align:middle line:84% Imagery that occur in all types of poetry. 00:04:56.450 --> 00:05:02.180 align:middle line:84% Especially, so-called poetry of witness, also 00:05:02.180 --> 00:05:06.770 align:middle line:84% known as the poetry of altered and tampered 00:05:06.770 --> 00:05:09.168 align:middle line:90% with witness testimony. 00:05:09.168 --> 00:05:11.210 align:middle line:84% There's not a poet who hasn't been tampered with. 00:05:11.210 --> 00:05:14.853 align:middle line:84% Reading is actually a source of being tampered with. 00:05:14.853 --> 00:05:15.770 align:middle line:90% Which is fine with me. 00:05:15.770 --> 00:05:17.640 align:middle line:90% Depends on what you read, right? 00:05:17.640 --> 00:05:18.500 align:middle line:90% Can't read it all. 00:05:18.500 --> 00:05:22.770 align:middle line:84% So first, I would like to share three things with you. 00:05:22.770 --> 00:05:24.420 align:middle line:90% The first is an example-- 00:05:24.420 --> 00:05:26.810 align:middle line:90% Oh I do need image. 00:05:26.810 --> 00:05:27.560 align:middle line:90% Did you know that? 00:05:27.560 --> 00:05:28.060 align:middle line:90% No. 00:05:28.060 --> 00:05:29.017 align:middle line:90% Damn. 00:05:29.017 --> 00:05:30.350 align:middle line:90% This happens every time, I know. 00:05:30.350 --> 00:05:30.605 align:middle line:90% It's good. 00:05:30.605 --> 00:05:31.105 align:middle line:90% Keep going. 00:05:31.105 --> 00:05:33.145 align:middle line:90% He helps me when I stop. 00:05:33.145 --> 00:05:35.270 align:middle line:84% Because if I go forward, then I'll be ahead of you. 00:05:35.270 --> 00:05:37.495 align:middle line:90% 00:05:37.495 --> 00:05:39.870 align:middle line:84% I never remember what I'm going to do till I get up here, 00:05:39.870 --> 00:05:43.520 align:middle line:90% so this is fine. 00:05:43.520 --> 00:05:45.570 align:middle line:84% Also, the first is an example from YouTube 00:05:45.570 --> 00:05:48.060 align:middle line:84% of what I consider to be, for the purpose of this talk, 00:05:48.060 --> 00:05:53.190 align:middle line:84% an example of pure, visual, documentary poetics. 00:05:53.190 --> 00:05:55.470 align:middle line:90% And it just means-- 00:05:55.470 --> 00:05:58.120 align:middle line:90% what was that? 00:05:58.120 --> 00:05:58.620 align:middle line:90% [INAUDIBLE] 00:05:58.620 --> 00:06:01.135 align:middle line:90% Exactly. 00:06:01.135 --> 00:06:01.635 align:middle line:90% See? 00:06:01.635 --> 00:06:02.580 align:middle line:90% It's coming back. 00:06:02.580 --> 00:06:03.680 align:middle line:90% I know. 00:06:03.680 --> 00:06:04.920 align:middle line:90% I like a lot of volume. 00:06:04.920 --> 00:06:10.355 align:middle line:90% 00:06:10.355 --> 00:06:11.230 align:middle line:90% Look at these people. 00:06:11.230 --> 00:06:13.810 align:middle line:90% Nobody's moving. 00:06:13.810 --> 00:06:15.560 align:middle line:90% They're not even waving. 00:06:15.560 --> 00:06:17.560 align:middle line:84% They're not talking to each other, not coughing. 00:06:17.560 --> 00:06:58.545 align:middle line:90% 00:06:58.545 --> 00:07:01.170 align:middle line:84% So what I said was the first is an example from YouTube of what 00:07:01.170 --> 00:07:03.128 align:middle line:84% I consider to be, for the purpose of this talk, 00:07:03.128 --> 00:07:06.210 align:middle line:84% an example of pure visual documentary poetics-- 00:07:06.210 --> 00:07:08.580 align:middle line:90% the Zapruder film. 00:07:08.580 --> 00:07:12.475 align:middle line:84% And the second is example of pure, fake, visual documentary 00:07:12.475 --> 00:07:12.975 align:middle line:90% poetics. 00:07:12.975 --> 00:07:27.100 align:middle line:90% 00:07:27.100 --> 00:07:28.820 align:middle line:90% They're still not moving. 00:07:28.820 --> 00:07:32.660 align:middle line:90% 00:07:32.660 --> 00:07:33.410 align:middle line:90% Could you do that? 00:07:33.410 --> 00:08:16.480 align:middle line:90% 00:08:16.480 --> 00:08:19.030 align:middle line:90% OK, thank you. 00:08:19.030 --> 00:08:24.490 align:middle line:84% Most of America didn't see that till 1972-ish or four-ish, 00:08:24.490 --> 00:08:25.600 align:middle line:90% I forget which one. 00:08:25.600 --> 00:08:28.870 align:middle line:84% So it was '63, and the world didn't see it, 00:08:28.870 --> 00:08:30.580 align:middle line:90% that, until then. 00:08:30.580 --> 00:08:34.422 align:middle line:84% It was locked away and some other things. 00:08:34.422 --> 00:08:36.880 align:middle line:84% The third thing-- the third and final thing I'd like to do, 00:08:36.880 --> 00:08:38.140 align:middle line:84% keep this in mind, we'll be back. 00:08:38.140 --> 00:08:39.515 align:middle line:84% The final thing I'd like to do is 00:08:39.515 --> 00:08:41.740 align:middle line:84% read you a really bad poem written by the poet Thomas 00:08:41.740 --> 00:08:43.990 align:middle line:90% Sayers Ellis. 00:08:43.990 --> 00:08:46.840 align:middle line:84% This poem appeared in 1992 or 1993, 00:08:46.840 --> 00:08:49.120 align:middle line:84% I forget which one, issue of Ploughshares, 00:08:49.120 --> 00:08:51.490 align:middle line:84% guest edited by the poet Marie Howe. 00:08:51.490 --> 00:08:54.010 align:middle line:90% The poet was paid for this poem. 00:08:54.010 --> 00:08:57.430 align:middle line:84% The publication of this poem was cited on the poet's CV. 00:08:57.430 --> 00:09:00.790 align:middle line:84% The poem helped the poet get a job. 00:09:00.790 --> 00:09:04.220 align:middle line:84% The poem accepts openly not that Lee Harvey Oswald was 00:09:04.220 --> 00:09:07.750 align:middle line:84% the lone shooter, but that Abraham Zapruder 00:09:07.750 --> 00:09:13.130 align:middle line:84% is the lone shooter/author of the events of November 22, 00:09:13.130 --> 00:09:20.095 align:middle line:84% 1963, and an innocent, passive one. 00:09:20.095 --> 00:09:23.860 align:middle line:90% 00:09:23.860 --> 00:09:28.020 align:middle line:84% To the clean side of the page, if you have it. 00:09:28.020 --> 00:09:31.873 align:middle line:84% Remember, I wrote this in 1992 or three now. 00:09:31.873 --> 00:09:32.540 align:middle line:90% So I don't know. 00:09:32.540 --> 00:09:33.730 align:middle line:90% It's a different year, now. 00:09:33.730 --> 00:09:36.730 align:middle line:90% "Zapruder." 00:09:36.730 --> 00:09:37.960 align:middle line:90% Let's do it. 00:09:37.960 --> 00:09:41.890 align:middle line:84% "Day off in dark suit and hat, looking 00:09:41.890 --> 00:09:45.760 align:middle line:84% through the viewfinder of a new 8 millimeter Bell and Howell 00:09:45.760 --> 00:09:46.810 align:middle line:90% camera. 00:09:46.810 --> 00:09:50.602 align:middle line:84% Paying no mind the open windows, the seizure." 00:09:50.602 --> 00:09:52.060 align:middle line:84% Think of the things you saw and you 00:09:52.060 --> 00:09:54.070 align:middle line:84% didn't saw while you could see from that 00:09:54.070 --> 00:09:56.062 align:middle line:90% and you didn't see, right? 00:09:56.062 --> 00:09:56.770 align:middle line:90% What I'm reading. 00:09:56.770 --> 00:09:59.602 align:middle line:84% "Just how more than half the targets on the grassy knoll--" 00:09:59.602 --> 00:10:00.810 align:middle line:90% Did you see the grassy knoll? 00:10:00.810 --> 00:10:04.420 align:middle line:84% "Are our potential customers, models, women. 00:10:04.420 --> 00:10:08.770 align:middle line:84% How accident and aim could fit them all, including the car, 00:10:08.770 --> 00:10:10.510 align:middle line:90% into the frame. 00:10:10.510 --> 00:10:12.880 align:middle line:90% It was the '60s. 00:10:12.880 --> 00:10:15.190 align:middle line:84% So before the volume of the motorcade 00:10:15.190 --> 00:10:18.910 align:middle line:84% turned north up Houston then down on Elm, 00:10:18.910 --> 00:10:24.670 align:middle line:84% they passed the camera between them, like a joint--" 00:10:24.670 --> 00:10:27.400 align:middle line:84% You can do anything at the podium. 00:10:27.400 --> 00:10:30.670 align:middle line:84% "Like a joint, a silent investment. 00:10:30.670 --> 00:10:33.337 align:middle line:84% His secretary stood next to him." 00:10:33.337 --> 00:10:34.920 align:middle line:84% Maybe you knew that, maybe you didn't. 00:10:34.920 --> 00:10:35.590 align:middle line:90% Depends. 00:10:35.590 --> 00:10:38.170 align:middle line:84% "Confident that their film would change lives. 00:10:38.170 --> 00:10:40.330 align:middle line:84% That what the women wore to greet the president 00:10:40.330 --> 00:10:44.920 align:middle line:84% would influence their sewing machines and needles. 00:10:44.920 --> 00:10:51.280 align:middle line:84% Clicking the power on, and it's something above and below, 00:10:51.280 --> 00:10:52.780 align:middle line:90% human to autumn. 00:10:52.780 --> 00:10:54.790 align:middle line:90% Now comes history--" 00:10:54.790 --> 00:10:57.490 align:middle line:84% This is where I was going to get really poetic right here, see? 00:10:57.490 --> 00:10:59.860 align:middle line:84% Coming in-- coming into the stretch of the poem. 00:10:59.860 --> 00:11:01.610 align:middle line:84% They teach you that in grad school, right? 00:11:01.610 --> 00:11:03.550 align:middle line:90% About the end, you know? 00:11:03.550 --> 00:11:05.950 align:middle line:84% "Now comes history--" that's why the big word, history. 00:11:05.950 --> 00:11:09.680 align:middle line:84% "That moment when everything begins to wave, arms--" 00:11:09.680 --> 00:11:11.415 align:middle line:84% you didn't see any waving arms, did you? 00:11:11.415 --> 00:11:12.790 align:middle line:84% What happened to the waving arms? 00:11:12.790 --> 00:11:13.660 align:middle line:90% Where they go? 00:11:13.660 --> 00:11:15.350 align:middle line:84% It's like somebody-- They're in the way of the camera. 00:11:15.350 --> 00:11:16.210 align:middle line:90% They can't wave their arms. 00:11:16.210 --> 00:11:17.110 align:middle line:84% They're like, we're making a movie. 00:11:17.110 --> 00:11:18.120 align:middle line:90% Keep your arms down. 00:11:18.120 --> 00:11:20.287 align:middle line:84% Now, I know that if Jack and Jackie were passing me, 00:11:20.287 --> 00:11:23.120 align:middle line:90% I'd be, Oh, what's up, babe? 00:11:23.120 --> 00:11:23.620 align:middle line:90% [INAUDIBLE] 00:11:23.620 --> 00:11:28.470 align:middle line:84% Mr. President. [? Hyannis. ?] I'd be into it. 00:11:28.470 --> 00:11:29.770 align:middle line:90% They just stood there. 00:11:29.770 --> 00:11:31.210 align:middle line:90% Do they know? 00:11:31.210 --> 00:11:31.870 align:middle line:90% Are they real? 00:11:31.870 --> 00:11:32.800 align:middle line:90% Anyway-- 00:11:32.800 --> 00:11:38.920 align:middle line:84% "arms, flags, lens, minutes, second, silence, dress maker, 00:11:38.920 --> 00:11:41.450 align:middle line:90% souvenir, evidence." 00:11:41.450 --> 00:11:42.747 align:middle line:90% Thank you. 00:11:42.747 --> 00:11:44.080 align:middle line:90% Now we're going to flip it over. 00:11:44.080 --> 00:11:46.730 align:middle line:90% 00:11:46.730 --> 00:11:48.230 align:middle line:84% This is why I don't go back in time. 00:11:48.230 --> 00:11:50.710 align:middle line:84% That's why I would never read a poem that I've written. 00:11:50.710 --> 00:11:52.673 align:middle line:84% I mean, not sitting around in my room. 00:11:52.673 --> 00:11:55.090 align:middle line:84% This is what happens when you read your old work, sort of. 00:11:55.090 --> 00:11:57.760 align:middle line:84% Or when you grow a little and you're looking, 00:11:57.760 --> 00:11:59.320 align:middle line:90% you're seeing changes. 00:11:59.320 --> 00:12:02.320 align:middle line:84% You're not just trapped in musing or poeticizing. 00:12:02.320 --> 00:12:06.250 align:middle line:84% Much of what we're taught is the poeticize, right. 00:12:06.250 --> 00:12:08.170 align:middle line:90% "Day off." 00:12:08.170 --> 00:12:09.310 align:middle line:90% Maybe it was his day off. 00:12:09.310 --> 00:12:11.710 align:middle line:84% Where did I get that from, right? 00:12:11.710 --> 00:12:14.110 align:middle line:90% Maybe he was working. 00:12:14.110 --> 00:12:16.233 align:middle line:90% Maybe he was hired by someone. 00:12:16.233 --> 00:12:17.650 align:middle line:84% Maybe someone gave him the camera. 00:12:17.650 --> 00:12:20.500 align:middle line:84% Supposedly, he forgot the camera and went back home. 00:12:20.500 --> 00:12:22.840 align:middle line:84% Secretary told him, get the camera. 00:12:22.840 --> 00:12:24.910 align:middle line:84% Went back home and got the camera. 00:12:24.910 --> 00:12:25.660 align:middle line:90% Where did he live? 00:12:25.660 --> 00:12:27.850 align:middle line:90% Who was he? 00:12:27.850 --> 00:12:29.050 align:middle line:90% Right? 00:12:29.050 --> 00:12:31.000 align:middle line:84% We know he lived in a White Russian community. 00:12:31.000 --> 00:12:33.263 align:middle line:84% We know he even knew Jack Ruby and Lee Harvey Oswald. 00:12:33.263 --> 00:12:34.930 align:middle line:84% Don't you think that's a little strange? 00:12:34.930 --> 00:12:36.790 align:middle line:84% The man who knew Jack Ruby and Lee Harvey-- 00:12:36.790 --> 00:12:40.870 align:middle line:84% This is a work of fiction, remember that. 00:12:40.870 --> 00:12:43.000 align:middle line:90% But I wouldn't lie to you. 00:12:43.000 --> 00:12:46.270 align:middle line:84% I've done my-- how many people have been in Dealey Plaza? 00:12:46.270 --> 00:12:48.550 align:middle line:84% In my list, what did I call Dealey Plaza? 00:12:48.550 --> 00:12:49.480 align:middle line:90% Do you remember? 00:12:49.480 --> 00:12:52.270 align:middle line:90% That long, last list I read? 00:12:52.270 --> 00:12:53.680 align:middle line:90% Page. 00:12:53.680 --> 00:12:55.090 align:middle line:90% That's important, OK? 00:12:55.090 --> 00:12:57.070 align:middle line:90% Hey, someone's writing. 00:12:57.070 --> 00:12:57.710 align:middle line:90% Is it you? 00:12:57.710 --> 00:12:58.300 align:middle line:90% Is it me? 00:12:58.300 --> 00:12:59.500 align:middle line:90% What is writing? 00:12:59.500 --> 00:13:01.310 align:middle line:90% Think about that. 00:13:01.310 --> 00:13:03.310 align:middle line:90% So maybe it wasn't his day off. 00:13:03.310 --> 00:13:04.430 align:middle line:90% Maybe he was working. 00:13:04.430 --> 00:13:07.150 align:middle line:90% Maybe he agreed to do that. 00:13:07.150 --> 00:13:08.560 align:middle line:90% Maybe it wasn't even him. 00:13:08.560 --> 00:13:11.590 align:middle line:84% Maybe he was standing on the pedestal with that camera. 00:13:11.590 --> 00:13:14.410 align:middle line:90% It's the perfect position. 00:13:14.410 --> 00:13:16.060 align:middle line:84% Why is that the only film that really 00:13:16.060 --> 00:13:18.340 align:middle line:90% survives from that position? 00:13:18.340 --> 00:13:21.700 align:middle line:84% "In a dark suit and hat," comma, line 00:13:21.700 --> 00:13:24.430 align:middle line:84% break, "looking through the viewfinder." 00:13:24.430 --> 00:13:25.090 align:middle line:90% I skip, right? 00:13:25.090 --> 00:13:27.550 align:middle line:84% A lot is left out between these two lines, right? 00:13:27.550 --> 00:13:30.070 align:middle line:84% A lot of stuff, that's what we call a leap, right? 00:13:30.070 --> 00:13:31.180 align:middle line:90% And leap is important. 00:13:31.180 --> 00:13:32.650 align:middle line:84% Even in the film you just saw, we 00:13:32.650 --> 00:13:35.710 align:middle line:84% don't have time to go through it and count the frames 00:13:35.710 --> 00:13:37.250 align:middle line:90% or do what ever. 00:13:37.250 --> 00:13:41.740 align:middle line:84% But there are a lot of frames rearranged in the Zapruder 00:13:41.740 --> 00:13:43.957 align:middle line:84% film, and a few frames taken out. 00:13:43.957 --> 00:13:45.790 align:middle line:84% And poets are able to do that between lines. 00:13:45.790 --> 00:13:47.248 align:middle line:84% Actually, you're taught to do that. 00:13:47.248 --> 00:13:48.170 align:middle line:90% We don't call it that. 00:13:48.170 --> 00:13:50.170 align:middle line:84% We call it leaping poetry and other things. 00:13:50.170 --> 00:13:54.370 align:middle line:84% But we are taught to re-time, well 00:13:54.370 --> 00:13:56.623 align:middle line:84% that's borrowed from poetry, and to take lines out. 00:13:56.623 --> 00:13:57.790 align:middle line:90% So there's a big leap there. 00:13:57.790 --> 00:13:59.830 align:middle line:84% That big leap's important between the day 00:13:59.830 --> 00:14:01.420 align:middle line:84% off and the dark suit and looking through the viewfinder. 00:14:01.420 --> 00:14:02.890 align:middle line:90% That's meant to create nuance. 00:14:02.890 --> 00:14:05.110 align:middle line:84% But there is a gap in the lyric narrative, right? 00:14:05.110 --> 00:14:08.540 align:middle line:84% "Of a new eight millimeter Bell and Howell camera. 00:14:08.540 --> 00:14:12.430 align:middle line:84% Paying no mind the open windows or the seizure." 00:14:12.430 --> 00:14:13.660 align:middle line:90% It's a very selective, right? 00:14:13.660 --> 00:14:15.328 align:middle line:90% That's really framing, right? 00:14:15.328 --> 00:14:16.870 align:middle line:84% You can name-- name one thing I could 00:14:16.870 --> 00:14:18.953 align:middle line:84% have used other than a seizure that's in that film 00:14:18.953 --> 00:14:19.913 align:middle line:90% that you saw. 00:14:19.913 --> 00:14:21.580 align:middle line:84% Things that probably happen on that-- he 00:14:21.580 --> 00:14:22.240 align:middle line:90% wasn't looking at that. 00:14:22.240 --> 00:14:23.115 align:middle line:90% You may have noticed. 00:14:23.115 --> 00:14:25.177 align:middle line:90% Can you think of something? 00:14:25.177 --> 00:14:27.010 align:middle line:84% I don't mean to turn into a poetry workshop. 00:14:27.010 --> 00:14:31.108 align:middle line:90% But this is-- anybody? 00:14:31.108 --> 00:14:32.650 align:middle line:84% Which, had you seen this film before? 00:14:32.650 --> 00:14:33.700 align:middle line:90% [INAUDIBLE] 00:14:33.700 --> 00:14:34.810 align:middle line:90% No one's-- OK. 00:14:34.810 --> 00:14:37.630 align:middle line:90% It's kind of popular now. 00:14:37.630 --> 00:14:40.090 align:middle line:84% OK, well something like those, I pointed out 00:14:40.090 --> 00:14:41.670 align:middle line:90% the people not waving, right? 00:14:41.670 --> 00:14:44.170 align:middle line:84% Something like-- there was a seizure that day on the street. 00:14:44.170 --> 00:14:46.098 align:middle line:84% The seizure maybe was meant as a diversion. 00:14:46.098 --> 00:14:47.140 align:middle line:90% It worked as a diversion. 00:14:47.140 --> 00:14:48.070 align:middle line:90% It may not have been. 00:14:48.070 --> 00:14:49.330 align:middle line:90% There's no way to know that. 00:14:49.330 --> 00:14:53.710 align:middle line:84% But that took the police who were not in the know 00:14:53.710 --> 00:14:57.160 align:middle line:84% and a lot of the crowd in the other direction, right? 00:14:57.160 --> 00:14:58.990 align:middle line:90% The open windows, right? 00:14:58.990 --> 00:15:00.682 align:middle line:84% The windows were open, and the seizure. 00:15:00.682 --> 00:15:01.640 align:middle line:90% And there's a gap here. 00:15:01.640 --> 00:15:03.040 align:middle line:90% So many things we could name. 00:15:03.040 --> 00:15:05.240 align:middle line:84% But there's an umbrella on the side. 00:15:05.240 --> 00:15:06.520 align:middle line:90% You can't really see it there. 00:15:06.520 --> 00:15:09.820 align:middle line:84% There's a man with an umbrella opening right 00:15:09.820 --> 00:15:11.200 align:middle line:90% as the president comes by. 00:15:11.200 --> 00:15:12.137 align:middle line:90% It's a beautiful day. 00:15:12.137 --> 00:15:13.720 align:middle line:84% Lady Bird Johnson, as you hear later-- 00:15:13.720 --> 00:15:14.428 align:middle line:90% I know I ran out. 00:15:14.428 --> 00:15:15.400 align:middle line:90% I took a lot of time. 00:15:15.400 --> 00:15:18.850 align:middle line:84% It all began so beautiful-- in her autobiography, 00:15:18.850 --> 00:15:21.700 align:middle line:84% that the first part of that chapter goes, 00:15:21.700 --> 00:15:23.658 align:middle line:90% it all began so beautiful. 00:15:23.658 --> 00:15:25.450 align:middle line:84% I'm going to go through this because this-- 00:15:25.450 --> 00:15:27.130 align:middle line:90% I'll be on this forever. 00:15:27.130 --> 00:15:27.970 align:middle line:90% I want to do that. 00:15:27.970 --> 00:15:30.470 align:middle line:84% "How accident and aim could fit them all, including the car, 00:15:30.470 --> 00:15:31.840 align:middle line:90% into the frame. 00:15:31.840 --> 00:15:32.920 align:middle line:90% It was the '60s." 00:15:32.920 --> 00:15:37.390 align:middle line:84% I wrote-- I circled '60s and wrote, was it? 00:15:37.390 --> 00:15:39.670 align:middle line:84% Well certainly, it was, as we know it. 00:15:39.670 --> 00:15:43.960 align:middle line:84% But what is it about the way we group and categorize epochs 00:15:43.960 --> 00:15:45.040 align:middle line:90% and what that means? 00:15:45.040 --> 00:15:47.140 align:middle line:84% What does the poet mean there, it was the '60s? 00:15:47.140 --> 00:15:48.610 align:middle line:84% Because it's a setup line, right? 00:15:48.610 --> 00:15:50.260 align:middle line:84% It's a setup line for the passing 00:15:50.260 --> 00:15:53.110 align:middle line:84% of the camera like a joint and/or a post 00:15:53.110 --> 00:15:55.880 align:middle line:84% passing the camera like a joint, or we could go on the volume. 00:15:55.880 --> 00:15:57.760 align:middle line:84% "So before the volume of the motorcade 00:15:57.760 --> 00:16:01.210 align:middle line:84% turned north up Houston then down on Elm--" 00:16:01.210 --> 00:16:03.532 align:middle line:90% again, selective. 00:16:03.532 --> 00:16:05.740 align:middle line:84% This film doesn't show it, because you might not even 00:16:05.740 --> 00:16:06.820 align:middle line:90% notice. 00:16:06.820 --> 00:16:10.220 align:middle line:84% The beginning of the motorcade turning is cut off. 00:16:10.220 --> 00:16:11.600 align:middle line:90% It's been taken out. 00:16:11.600 --> 00:16:13.210 align:middle line:90% So what happens there? 00:16:13.210 --> 00:16:15.400 align:middle line:90% What didn't the poet know? 00:16:15.400 --> 00:16:17.290 align:middle line:90% So it does, the car does turn. 00:16:17.290 --> 00:16:20.030 align:middle line:90% This is all witness testimony. 00:16:20.030 --> 00:16:25.360 align:middle line:84% The car does turn north on Houston, or right on Houston, 00:16:25.360 --> 00:16:27.190 align:middle line:90% then a left on Elm. 00:16:27.190 --> 00:16:30.310 align:middle line:84% But when it made the turn on Elm, for some reason, 00:16:30.310 --> 00:16:32.710 align:middle line:84% the Secret Service driver, William Greer, 00:16:32.710 --> 00:16:35.290 align:middle line:90% made a wide turn by mistake. 00:16:35.290 --> 00:16:37.300 align:middle line:84% He took the car right under the window 00:16:37.300 --> 00:16:41.860 align:middle line:84% and almost hit the pedestrians, the onlookers, on the sidewalk. 00:16:41.860 --> 00:16:44.500 align:middle line:90% He went up on the curve. 00:16:44.500 --> 00:16:45.970 align:middle line:90% And people had to back off. 00:16:45.970 --> 00:16:48.435 align:middle line:84% The President's car almost ran over people that day. 00:16:48.435 --> 00:16:49.060 align:middle line:90% You don't know. 00:16:49.060 --> 00:16:51.070 align:middle line:90% That it's not in my poem. 00:16:51.070 --> 00:16:53.410 align:middle line:84% And it's not in the Zapruder film. 00:16:53.410 --> 00:16:55.240 align:middle line:90% It was in that film. 00:16:55.240 --> 00:16:58.660 align:middle line:84% I'm going to call it the Zapruder film. 00:16:58.660 --> 00:17:01.390 align:middle line:84% And then it recovers and gets back on the street, slowly. 00:17:01.390 --> 00:17:02.410 align:middle line:90% So it had to slow down. 00:17:02.410 --> 00:17:06.577 align:middle line:90% 00:17:06.577 --> 00:17:08.619 align:middle line:84% "They passed a camera between them like a joint." 00:17:08.619 --> 00:17:11.380 align:middle line:90% Just being clever, made up. 00:17:11.380 --> 00:17:13.240 align:middle line:84% All the photography from that day, 00:17:13.240 --> 00:17:15.079 align:middle line:84% or some of the photography that survived, 00:17:15.079 --> 00:17:16.900 align:middle line:84% a few of the images from that day, 00:17:16.900 --> 00:17:18.790 align:middle line:84% don't show them standing next to each other. 00:17:18.790 --> 00:17:21.033 align:middle line:84% Shows her standing in front of him. 00:17:21.033 --> 00:17:23.200 align:middle line:84% And a couple of other films that were taken that day 00:17:23.200 --> 00:17:24.790 align:middle line:84% shows them playing, as if they're 00:17:24.790 --> 00:17:27.670 align:middle line:84% dancing on the pedestal, having a good time, 00:17:27.670 --> 00:17:29.590 align:middle line:90% changing positions. 00:17:29.590 --> 00:17:31.420 align:middle line:90% So it's really interesting. 00:17:31.420 --> 00:17:35.110 align:middle line:84% The cover-- the official story is that he didn't like heights, 00:17:35.110 --> 00:17:37.420 align:middle line:84% she held him up, helped him stay there, 00:17:37.420 --> 00:17:38.860 align:middle line:90% because he was getting dizzy. 00:17:38.860 --> 00:17:42.030 align:middle line:84% Did that look like it was taken by a man who was getting dizzy? 00:17:42.030 --> 00:17:42.530 align:middle line:90% No. 00:17:42.530 --> 00:17:45.640 align:middle line:84% The poet didn't know that, either. 00:17:45.640 --> 00:17:48.160 align:middle line:84% The poets acting like that popular-- 00:17:48.160 --> 00:17:52.720 align:middle line:84% in a popular, contemporary mode of reportage, you know? 00:17:52.720 --> 00:17:57.530 align:middle line:84% He's reporting, mostly in prose, too, right? 00:17:57.530 --> 00:17:59.530 align:middle line:84% "That what the women wore to greet the president 00:17:59.530 --> 00:18:02.680 align:middle line:84% would influence their sewing machines and needles." 00:18:02.680 --> 00:18:07.300 align:middle line:84% The first shot sounds like a backfire, doesn't hit anything. 00:18:07.300 --> 00:18:08.320 align:middle line:90% It misses the car. 00:18:08.320 --> 00:18:10.090 align:middle line:90% This is supposedly witness-- 00:18:10.090 --> 00:18:11.680 align:middle line:90% from a witness. 00:18:11.680 --> 00:18:14.860 align:middle line:84% The second shot hits the president in the back. 00:18:14.860 --> 00:18:16.990 align:middle line:90% President can't bend over. 00:18:16.990 --> 00:18:19.230 align:middle line:90% Why? 00:18:19.230 --> 00:18:21.040 align:middle line:90% He's wearing a back brace. 00:18:21.040 --> 00:18:21.540 align:middle line:90% Right? 00:18:21.540 --> 00:18:24.480 align:middle line:90% JFK always wore back brace? 00:18:24.480 --> 00:18:26.970 align:middle line:84% So he kind of has to either fall to the side or-- 00:18:26.970 --> 00:18:29.850 align:middle line:90% he can't-- he can't duck. 00:18:29.850 --> 00:18:32.962 align:middle line:84% And we think, somebody had to know that, right? 00:18:32.962 --> 00:18:34.920 align:middle line:84% Whether they did or not, it worked against him. 00:18:34.920 --> 00:18:37.740 align:middle line:84% And on my list, back brace was what? 00:18:37.740 --> 00:18:40.028 align:middle line:90% Back issues, right? 00:18:40.028 --> 00:18:41.070 align:middle line:90% Because he had Addison's. 00:18:41.070 --> 00:18:42.960 align:middle line:84% Famous pictures of JFK in a rocking chair, 00:18:42.960 --> 00:18:47.460 align:middle line:84% the rocking chair was therapy for the back. 00:18:47.460 --> 00:18:49.800 align:middle line:84% He sat in a rocking chair a lot in the Oval Office. 00:18:49.800 --> 00:18:52.320 align:middle line:84% Photos of him playing with the kids, 00:18:52.320 --> 00:18:56.010 align:middle line:84% he was-- that was his therapy, right? 00:18:56.010 --> 00:18:59.700 align:middle line:84% After the second shot, he stood up in the car. 00:18:59.700 --> 00:19:01.260 align:middle line:90% Did you see that? 00:19:01.260 --> 00:19:03.180 align:middle line:84% This is witness-- you didn't see that. 00:19:03.180 --> 00:19:04.710 align:middle line:90% This is witness testimony. 00:19:04.710 --> 00:19:08.280 align:middle line:84% JFK stood up in the car and said, Oh my God, I've 00:19:08.280 --> 00:19:10.170 align:middle line:90% been shot. 00:19:10.170 --> 00:19:10.690 align:middle line:90% He stood up. 00:19:10.690 --> 00:19:14.190 align:middle line:84% Then the car goes behind the freeway sign, 00:19:14.190 --> 00:19:15.300 align:middle line:90% blocks out what happens. 00:19:15.300 --> 00:19:18.060 align:middle line:90% Then he's shot in the throat. 00:19:18.060 --> 00:19:20.190 align:middle line:84% They debate for years whether the throat shot 00:19:20.190 --> 00:19:21.630 align:middle line:90% comes from the first-- 00:19:21.630 --> 00:19:23.530 align:middle line:90% front or the back. 00:19:23.530 --> 00:19:26.680 align:middle line:90% It doesn't matter what I think. 00:19:26.680 --> 00:19:30.700 align:middle line:84% So when he comes from behind the sign, he's shot in the throat. 00:19:30.700 --> 00:19:33.060 align:middle line:90% Car moves forward. 00:19:33.060 --> 00:19:34.060 align:middle line:90% There's another shot. 00:19:34.060 --> 00:19:36.815 align:middle line:84% We think it missed, ricocheted off of something. 00:19:36.815 --> 00:19:37.690 align:middle line:90% There's another shot. 00:19:37.690 --> 00:19:39.850 align:middle line:84% You saw a shot to the side of the front side, or wherever. 00:19:39.850 --> 00:19:40.392 align:middle line:90% I don't know. 00:19:40.392 --> 00:19:42.610 align:middle line:84% I won't say what side of the head. 00:19:42.610 --> 00:19:45.130 align:middle line:84% Witness testimony says the back of the head blew out. 00:19:45.130 --> 00:19:46.704 align:middle line:90% Did you see that? 00:19:46.704 --> 00:19:47.560 align:middle line:90% [INAUDIBLE] 00:19:47.560 --> 00:19:48.340 align:middle line:90% No, you didn't. 00:19:48.340 --> 00:19:49.520 align:middle line:90% [INAUDIBLE] 00:19:49.520 --> 00:19:51.700 align:middle line:90% What'd you see? 00:19:51.700 --> 00:19:54.250 align:middle line:84% You saw the side of the head open up, right? 00:19:54.250 --> 00:19:55.600 align:middle line:90% That's what he said. 00:19:55.600 --> 00:19:59.440 align:middle line:84% Witness testimony says the back of the head blew out. 00:19:59.440 --> 00:20:02.020 align:middle line:84% Splatted the cop behind it, splattered the people. 00:20:02.020 --> 00:20:03.460 align:middle line:90% Bone went back that way. 00:20:03.460 --> 00:20:05.020 align:middle line:84% Bone went to the back of the car. 00:20:05.020 --> 00:20:06.645 align:middle line:84% Jackie climbs on to the back of the car 00:20:06.645 --> 00:20:08.710 align:middle line:90% to retrieve bone, supposedly. 00:20:08.710 --> 00:20:10.210 align:middle line:90% Or to either get out of the car. 00:20:10.210 --> 00:20:12.460 align:middle line:84% "Clicking the power on at or something above below him 00:20:12.460 --> 00:20:14.180 align:middle line:90% in autumn, now comes history." 00:20:14.180 --> 00:20:18.910 align:middle line:84% Big work, prepackaged, lazy acceptance. 00:20:18.910 --> 00:20:20.710 align:middle line:84% The poet is taught to tear things apart, 00:20:20.710 --> 00:20:22.960 align:middle line:84% to pull things apart, to climb inside them, 00:20:22.960 --> 00:20:24.790 align:middle line:90% to explore what's inside them. 00:20:24.790 --> 00:20:26.290 align:middle line:90% "Now comes history." 00:20:26.290 --> 00:20:28.660 align:middle line:84% To say-- for the poet to say "now comes history" 00:20:28.660 --> 00:20:30.850 align:middle line:84% automatically means an acceptance. 00:20:30.850 --> 00:20:34.210 align:middle line:84% Not even, not at all a critical frisking-- 00:20:34.210 --> 00:20:35.710 align:middle line:90% frisking are what history is. 00:20:35.710 --> 00:20:39.730 align:middle line:84% That moment when everything begins to wave. 00:20:39.730 --> 00:20:41.860 align:middle line:90% Very few people are waving. 00:20:41.860 --> 00:20:45.430 align:middle line:84% They were waving before the car turned in the film, 00:20:45.430 --> 00:20:48.760 align:middle line:84% but not once it came into the beginning of the kill zone. 00:20:48.760 --> 00:20:51.490 align:middle line:84% Because a lot of things happened in that zone. 00:20:51.490 --> 00:20:54.730 align:middle line:84% You don't just stand and watch that way. 00:20:54.730 --> 00:20:57.250 align:middle line:90% You hug or grab or shriek. 00:20:57.250 --> 00:20:59.320 align:middle line:90% You don't see any of that. 00:20:59.320 --> 00:21:00.820 align:middle line:90% Was brutal, what you saw. 00:21:00.820 --> 00:21:03.460 align:middle line:84% But let me tell you, what it was before that, by the testimony 00:21:03.460 --> 00:21:08.388 align:middle line:84% of people who saw the original film, was 30 times more brutal. 00:21:08.388 --> 00:21:11.040 align:middle line:84% "Arms fla--" I'm talking about the page, 00:21:11.040 --> 00:21:13.165 align:middle line:84% though I'm talking about the Kennedy assassination. 00:21:13.165 --> 00:21:16.510 align:middle line:84% "Arms, flag, lens, minute, second silence, dressmaker, 00:21:16.510 --> 00:21:18.610 align:middle line:90% souvenir, evidence." 00:21:18.610 --> 00:21:23.690 align:middle line:90% 00:21:23.690 --> 00:21:26.180 align:middle line:90% The poem is bad. 00:21:26.180 --> 00:21:27.620 align:middle line:90% And I should know. 00:21:27.620 --> 00:21:32.000 align:middle line:84% It does not contain an ounce of re-creative search. 00:21:32.000 --> 00:21:33.980 align:middle line:84% It tells what we already know or think we know, 00:21:33.980 --> 00:21:36.740 align:middle line:84% and adds moments of fictive opinion 00:21:36.740 --> 00:21:39.200 align:middle line:84% to the already blurred poetics of the day. 00:21:39.200 --> 00:21:41.660 align:middle line:84% The gaze of the poem is singular. 00:21:41.660 --> 00:21:45.380 align:middle line:84% The event made of many disturban-- disturbing lines, 00:21:45.380 --> 00:21:46.010 align:middle line:90% was not. 00:21:46.010 --> 00:21:48.560 align:middle line:90% 00:21:48.560 --> 00:21:55.650 align:middle line:84% It was in fact, the most amazing display of pre-social network 00:21:55.650 --> 00:22:02.870 align:middle line:84% social networking to date as you simply cannot kill a president 00:22:02.870 --> 00:22:04.370 align:middle line:90% without a social network. 00:22:04.370 --> 00:22:08.765 align:middle line:84% And all social networks depend upon conspiracy to thrive. 00:22:08.765 --> 00:22:11.440 align:middle line:90% 00:22:11.440 --> 00:22:16.350 align:middle line:84% The poem is simply an exercise in musing. 00:22:16.350 --> 00:22:18.570 align:middle line:84% The end of the poem, for poetic effect, 00:22:18.570 --> 00:22:22.260 align:middle line:84% treats what we think seems to be like a catalog of lyric knowns. 00:22:22.260 --> 00:22:26.760 align:middle line:84% If there is an eye in the poem, it's 00:22:26.760 --> 00:22:32.610 align:middle line:84% been placed in a place of agreement, agreement. 00:22:32.610 --> 00:22:34.980 align:middle line:84% Our engagement with Zapruder, the possibility 00:22:34.980 --> 00:22:37.890 align:middle line:84% and impossibility of him as accident and aim, 00:22:37.890 --> 00:22:40.000 align:middle line:90% uncovers nothing. 00:22:40.000 --> 00:22:42.030 align:middle line:84% In fact, it continues to cover up 00:22:42.030 --> 00:22:43.710 align:middle line:84% and does not approach the possibility 00:22:43.710 --> 00:22:46.710 align:middle line:84% of the imaginative unthinkable, that perhaps he or someone else 00:22:46.710 --> 00:22:50.790 align:middle line:84% was hired to film or create and docupoetics. 00:22:50.790 --> 00:22:55.650 align:middle line:84% That would defy the very practice of docupoetics. 00:22:55.650 --> 00:23:03.300 align:middle line:84% This makes the poem flat, fixed, and sadly, finished. 00:23:03.300 --> 00:23:07.680 align:middle line:84% As things stands, no poem about November 22, 1963 00:23:07.680 --> 00:23:08.490 align:middle line:90% can be finished. 00:23:08.490 --> 00:23:12.720 align:middle line:90% 00:23:12.720 --> 00:23:17.940 align:middle line:84% Many of us, in our work, in reference, 00:23:17.940 --> 00:23:22.380 align:middle line:84% and at the locked out edges of history, 00:23:22.380 --> 00:23:26.626 align:middle line:84% are recreating and documenting lies. 00:23:26.626 --> 00:23:27.126 align:middle line:90%