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orders,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=406.247,411.247"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"company reports, all the documentation.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=411.27,413.503"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But he told me a year or two ago","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=415.0,416.79"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that when he went back to consult his carton of documents","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=416.79,419.7"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that he found he could not write the memoir","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=421.16,423.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because, as he said, \"The documents were all wrong.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=423.15,426.457"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They were all wrong.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=428.05,429.51"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They delivered a very different war","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=429.51,431.2"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"from the one his memory had contrived.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=431.2,435.16"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So with those things in mind","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=435.16,436.86"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"let me start","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=438.259,439.69"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by saying","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=441.08,442.04"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that a very interesting subject to me","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=443.06,447.19"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is the artistic character and potential of kinds of writing","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=447.19,451.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which are generally considered non-literary or sub-literary,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=451.32,455.277"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by which I suppose we mean non-fictional or sub-fictional.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=456.42,460.177"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have in mind things as ordinary","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=461.14,463.47"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and conventionalized as letters,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=463.47,466.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and speeches, and legal arguments;","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=466.56,470.37"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as well as more grandiose kinds of writing","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=470.37,473.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"like military orders of the day,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=473.05,475.92"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the inscriptions on memorials and tombstones.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=475.92,479.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"At our moment our artistic potential","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=481.86,483.95"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"tends to be assigned only to writings","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=483.95,486.47"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in which the element of fiction is gross, open and palpable.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=486.47,491.47"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think there's a great deal more to be said","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=493.19,495.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"about the potential for high art in literary forms","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=495.15,499.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in which the fictional or artistic elements","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=499.17,501.89"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is subtly entangled with filaments","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=501.89,505.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"reaching out to fasten upon what we call fact.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=505.29,508.183"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, chief among these alleged non-creative forms of writing","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=509.85,513.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is the memoir,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=513.98,515.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and this is the form I want to talk about for a moment.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=515.11,519.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/152","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"About this problematic literary form","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=519.11,521.37"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/153","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"questions like these naturally arise; for example,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=521.37,524.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/154","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"what is it that differentiates what we call a memoir","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=524.46,528.5"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/155","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"from what we call a first novel?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=528.5,530.563"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/156","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In this country at least,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=531.85,533.1"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/157","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a first novel is always autobiographical","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=533.1,536.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/158","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and almost always written in the first person.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=537.93,540.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/159","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This question arises with a book","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=541.73,543.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/160","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"like Frank Conroy's Stop-Time.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=543.27,545.84"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/161","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The elements comprising this book","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=546.7,548.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/162","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"appeared first as identifiable short stories","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=548.3,550.84"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/163","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but when they were accumulated to make a book,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=552.1,554.69"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/164","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the book presented itself as a memoir.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=554.69,557.263"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/165","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I wonder if it's merely the whim of the bookseller","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=558.49,561.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/166","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or of the Dewey Decimal Classifier","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=562.18,565.4"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/167","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that determines whether a given book","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=565.4,567.44"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/168","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"shall be displayed on the fiction table","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=567.44,570.26"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/169","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or on the autobiography table.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=570.26,572.733"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/170","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I wonder if it would be only verbal playing around","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=573.82,577.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/171","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to suggest that a so-called first 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novel","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=583.86,586.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/174","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"written by an old person.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=587.42,589.18"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/175","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Another question arises naturally about 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art?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=599.29,601.573"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/178","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In other words,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=602.75,603.583"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/179","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"why have its imaginative 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Ackerley's brilliant memoir,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=611.18,613.7"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/183","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My father and Myself,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=613.7,615.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/184","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the British critic Michael Holroyd has said,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=615.49,619.097"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/185","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"For many years now,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=619.097,620.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/186","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the art of autobiography has been stranded","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=620.11,622.133"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/187","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in a no man's land between history and biography,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=622.133,626.89"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/188","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which I thought of as more important than novels and poetry,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=626.89,631.06"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/189","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which are considered more 'creative'.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=631.06,633.483"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/190","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He goes on to 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distinct.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=669.56,674.2"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/203","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As she says,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=674.2,675.033"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/204","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Truth of fact and truth of fiction are 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fiction,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=689.85,691.927"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/209","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"while we know for certain what fact is and what fiction is,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=691.927,695.67"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/210","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"her formulation might make 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war,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1021.59,1024.35"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/311","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"not enough of them to make a book anyway\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1024.35,1026.983"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/312","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"His words \"to make a book\" are 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all","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1038.99,1043.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/317","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"he had to do so under the aegis","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1043.07,1045.81"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/318","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of a scheme deriving from art,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1045.81,1049.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/319","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which is to say that to bring home the truth","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1049.17,1051.7"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/320","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"about any sort of series of event,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1051.7,1054.83"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/321","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"especially one so one traumatic as the First World War,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1054.83,1058.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/322","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"one had to employ the carriage of fiction.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1058.48,1061.833"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/323","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now let me illustrate by talking for a moment about flowers.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1064.21,1067.533"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/324","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Nobody walking around Flanders and Picardy in France,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1068.57,1072.1"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/325","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"whether in 1914 or 1980,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1072.1,1074.503"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/326","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"can fail to observe the variety","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1075.61,1077.868"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/327","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and profusion of flora there.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1077.868,1080.313"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/328","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He will see cherry trees and other fruit trees in blossom,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1081.21,1084.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/329","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"marguerites, bright blue corn flowers, daffodils,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1084.77,1088.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/330","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"jonquils, broom, hawthorn, Lily of the Valley, columbine,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1088.74,1093.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/331","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"blue bells, all of these in great profusion.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1095.09,1098.38"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/332","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he will also see here in there,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1098.38,1100.5"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/333","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"red roses and bright red poppies.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1100.5,1104.503"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/334","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The question we have to ask is this:","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1105.47,1107.97"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/335","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Why with all these data actually before them","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1107.97,1111.97"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/336","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"do men testifying about what they saw in France","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1112.89,1116.79"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/337","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in the First World War notice only the roses","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1116.79,1120.18"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/338","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the poppies?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1120.18,1121.303"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/339","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They don't talk about corn flowers,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1122.357,1124.181"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/340","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"they don't talk about daisies.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1124.181,1125.681"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/341","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The answer, I think,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1126.9,1128.353"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/342","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is that roses were indispensable","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1128.353,1131.26"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/343","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to the work of the symbolizing imagination","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1131.26,1133.84"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/344","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"during and after that war,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1133.84,1136.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/345","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"not so much because Belgium","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1136.07,1137.367"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/346","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and France were literally full of them,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1137.367,1140.59"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/347","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but because English poetry was full of them.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1140.59,1144.442"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/348","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If you go through a standard collection","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1144.442,1146.26"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/349","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"like the Oxford Book of English Verse","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1146.26,1148.43"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/350","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and count the poems carefully,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1148.43,1151.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/351","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"you will notice that 1/3 of the poems involve roses,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1151.27,1154.493"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/352","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"1/3 of the poems are about roses in some way.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1156.174,1159.673"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/353","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"These writers noticed the roses","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1161.36,1164.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/354","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or tell us that they noticed the roses","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1164.56,1166.75"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/355","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"also because since the Middle Ages in the British tradition","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1166.75,1171.75"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/356","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"roses had connoted, not just England,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1172.17,1175.03"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/357","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as in the Wars of the Roses,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1175.03,1177.4"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/358","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"they'd connoted it loyal and sacrifice as 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war","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1183.8,1186.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/361","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"somehow belong not to her, but rather to England.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1186.01,1190.16"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/362","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One man, Philip 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this:","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1193.15,1196.88"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/365","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He says, \"Life was good out of the line that September.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1196.88,1201.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/366","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It was good to go into the garden of a French Chateau","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1201.25,1203.92"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/367","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and pluck a rose and smell it's sweetness","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1203.92,1206.62"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/368","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and think back to England where other roses were 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growing...\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1319.27,1321.38"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/403","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we suddenly realize that we're in the presence,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1321.38,1323.76"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/404","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"less of fact than of fiction here,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1323.76,1327.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/405","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"classical English literature.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1327.8,1329.293"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/406","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"From his grave is growing,\" he tells us,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1330.267,1332.387"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/407","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"a tall rose tree with crimson roses blooming","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1332.387,1337.387"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/408","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"even in 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says,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1356.55,1358.277"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/415","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Beside this Sargent lies another man","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1358.277,1361.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/416","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"who was both captain and knight with only a dock,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1361.02,1365.52"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/417","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a particularly ugly weed,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1365.52,1367.91"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/418","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"rising from his feet.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1367.91,1370.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/419","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Indeed, we are told on all the graves","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1370.11,1372.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/420","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of this cemetery are 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you remember is that conventional kind of poem","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1698.86,1701.62"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/529","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"sung by one lover to another in the morning","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=1701.62,1705.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/530","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"when the lovers have to 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Davies","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2215.5,2220.43"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/693","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"on the Burke Square at Wrexham,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2220.43,2223.66"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/694","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"it's a perfect Ben Johnsonian comic 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six,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2229.79,2232.71"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/697","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"it's done wholly in dialogue.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2232.71,2234.53"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/698","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we're even given stage directions by 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major.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2259.04,2260.803"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/707","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The adjutant said, \"Good heavens, how did that happen?\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2262.03,2265.467"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/708","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"It was an accident, 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spy?\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2269.38,2271.827"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/711","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"No, sir. We mistook him for our platoon sergeant.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2271.827,2276.051"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/712","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience laughs)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2276.051,2279.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/713","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Hardly the work, I think we can 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(indistinct).","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2298.64,2300.84"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/720","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Even Graves's anticipation","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=2302.42,2304.38"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/721","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of his feared mental breakdown at the 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called","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3108.73,3110.67"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/971","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The First Day on the Somme,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3110.67,3113.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/972","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Martin Middlebrook, a British historian and 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old,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3119.69,3122.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/975","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as he could find","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3122.29,3124.12"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/976","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and he asked them one crucial 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characters;","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3378.61,3381.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1053","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"one is very named as Earnest, the other is called Gilberts.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3381.85,3386.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1054","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"After discussing this paradox","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3389.09,3391.39"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1055","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that I've been developing for you tonight,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3391.39,3394.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1056","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the well-named Earnest asked this question,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3394.29,3396.577"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1057","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Life then is a failure?\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3396.577,3399.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1058","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and Gilbert answers,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3399.05,3401.447"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1059","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"From the artistic point of view, certainly.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3401.447,3404.417"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1060","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience chatter)\nThank you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3405.406,3407.009"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1061","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience applauds)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=3407.009,3410.009"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29778/annotation/1062","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/778/original/AV168132_The_Fiction_of_Fact_a.vtt?1624893768","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/778/original/AV168132_The_Fiction_of_Fact_a.vtt?1624893768"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29779","type":"AnnotationPage","label":{"en":["AV168132_The_Fiction_of_Fact_a.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446/transcript/29779/annotation/1063","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- The man I'm introducing to you, Paul Fussell, is John Dewitt professor of English literature at Rutgers University. He has also taught at Connecticut College, and the University of And in recent years he has lectured His public writings besides articles in various scholarly journals include five books: Theory of Prosody in Eighteenth-Century England, The Rhetorical World of Augustan Humanism, Poetic Meter and Poetic Form, Samuel Johnson and The Life of Writing and The Great War and Modern Memory, which won 1976 National He has co-edited He is a member of the executive council of the Modern Language Association. As a member of the graduate faculty at Rutgers, he has dissertations, one of them was mine, which was . All of this sounds like the writer of a distinguished academic But Professor Fussell is something rarer and in my view more valuable than a professional academic, even if . He's a professional writer a man of . What makes him officially a man of is that he serves a contributing editor and as a regular writer for New Republic. What makes him essential is the range of his writing, the stances that he takes in it and the sheer quality of the product. One way to suggest the range of Professor Fussell's writing is to note that he has written with equal distinction on 18th century English styles, and on French maneuvers in Word War I. He has investigated the practical applications of what literary critics call \"genre theory,\" and he has reviewed in The New Republic, last summer, the latest edition of the Boy Scouts Manual. Professor Fussell's writing covers such wide ground because of conviction that hardly any artifact of human experience or human imagination noticed. In his forthcoming book on 20th century travel and travel literature, even the baggage ticket and the passport photo receive their share of attention. In The Great War and Modern Memory there's a superb discussion of the as a contemporary institution. \"Documents like these,\" he argues, \"are both products and influences upon our imaginative habits. Like literary works, they both reflect our experience and give it form. We invent them to serve some particular need but once invented they stay in our minds, they enter into our patterns of thinking and they produce new needs and new behaviors that their inventors could never have dreamed of.\" Professor Fussell brings to this argument the training and experience of a sophisticated literary critic. But he differs from even the best of academic critics in the range of documents he is willing to attend to, and in the range of knowledge he brings to bear on them. If The Great War and Modern Memory is a work of literary criticism, it is almost equally aware of it's history. The forthcoming book on travel is at once literary criticism and sociology, and both are also works the cultural criticism in the tradition of writers like , George Orwell and Edmund Wilson. Finally, it would be pleasant to dwell for while on the quality of Professor Fussell's work. I won't embarrass him by doing so, however. I'll just note that besides winning the National Book Critics Circle Award for Criticism, The Great War and Modern Memory also won the 1976 National Book Award for Arts and Letters. And I'll cite one bit of my own experience. I've read all but the first of Professor Fussell's books, and while I began them for various reasons, I always finished them for the same reason, I could not put them down. Ladies and gentleman, Professor Fussell.\r\n\r\n- Thank you very much, Bill. That's a generous introduction, I appreciate. I'm going to talk about the relation of experience to language in a wider sense. And I'm also going to talk about the operations of individual human memory in contriving a plausible past for each one of us as well as contriving a national and a world past that makes sense to us. My epigraph tonight is by the American novelists Wright Morris, whom I once heard say, \"Anything processed by memory is fiction.\" \"Anything processed by memory is fiction.\" This reminds me of a recent conversation I had with a friend of mine who fought as I did in the Second World War and who, like me, had had the ambition for many years of writing a personal memoir about his experiences in that war. He had carefully saved all the documents that would be appropriate for such a memoir, his letters home, various maps, field orders, company reports, all the documentation. But he told me a year or two ago that when he went back to consult his carton of documents that he found he could not write the memoir because, as he said, \"The documents were all wrong.\" They were all wrong. They delivered a very different war from the one his memory had contrived. So with those things in mind let me start by saying that a very interesting subject to me is the artistic character and potential of kinds of writing which are generally considered non-literary or sub-literary, by which I suppose we mean non-fictional or sub-fictional. I have in mind things as ordinary and conventionalized as letters, and speeches, and legal arguments; as well as more grandiose kinds of writing like military orders of the day, and the inscriptions on memorials and tombstones. At our moment our artistic potential tends to be assigned only to writings in which the element of fiction is gross, open and palpable. I think there's a great deal more to be said about the potential for high art in literary forms in which the fictional or artistic elements is subtly entangled with filaments reaching out to fasten upon what we call fact. Now, chief among these alleged non-creative forms of writing is the memoir, and this is the form I want to talk about for a moment. About this problematic literary form questions like these naturally arise; for example, what is it that differentiates what we call a memoir from what we call a first novel? In this country at least, a first novel is always autobiographical and almost always written in the first person. This question arises with a book like Frank Conroy's Stop-Time. The elements comprising this book appeared first as identifiable short stories but when they were accumulated to make a book, the book presented itself as a memoir. I wonder if it's merely the whim of the bookseller or of the Dewey Decimal Classifier that determines whether a given book shall be displayed on the fiction table or on the autobiography table. I wonder if it would be only verbal playing around to suggest that a so-called first novel is really a memoir written by a young person while a so-called memoir tends to be a last novel written by an old person. Another question arises naturally about memoirs: Why has memoir not been accorded the status enjoyed by so-called works of art? In other words, why have its imaginative figurations and structural inventions not earned the attention of serious criticism? Speaking of J.R. Ackerley's brilliant memoir, My father and Myself, the British critic Michael Holroyd has said, \"For many years now, the art of autobiography has been stranded in a no man's land between history and biography, which I thought of as more important than novels and poetry, which are considered more 'creative'.\" He goes on to say, \"It's to be hoped that My father and Myself, besides making for itself a permanent place in literature, will help remedy this ridiculous state of affairs by turning the attention of readers and publishers back to this neglected art form.\" But if we turn to Anatomy of Criticism, we find that Northrop Frey does not classify this art form as a form of literature. And Virginia Woolf is only one among many sophisticated literary intelligences to find that the domain of art and that of factual testimony are distinct. As she says, \"Truth of fact and truth of fiction are incompatible.\" Now, it's my business tonight to argue the opposite, they are compatible. At the extremes of each end of that scheme, fact and fiction, while we know for certain what fact is and what fiction is, her formulation might make sense. The problem is we never know. It doesn't seem valid when we find ourselves at what Nabakov has called \"That delicate meeting place between imagination and knowledge,\" which is where we exist most of the time. That delicate place between imagination and knowledge, a point that is intrinsically artistic, that is that point where we recognize things by imposing on them some prior intellectual or artistic paradigm. So the fiction to the paradigm encounters and we end up in an imaginary construction of the world which we call the act seeing and the act of perceiving. Professor Pound once said that every art consists of a fixed element and a variable. If we think of memoir in this sense we can say that in memoir the presumed basis in fact can be conceived as the fixed element whereas the devices of fiction are the variable. Or if one was to relate this concept to critical history, we can say that fact is the province of what Coleridge calls \"the particular,\" whereas fictional form and any kind of memory is the dimension of Coleridge's universal. Or to go back further, the one is what Aristotle calls history, that is what happened; the other is what he calls poetry or plot, that is what happens significantly. So we can say that generically memoir is in the position of mediating like Coleridge's secondary imagination. It mediates between extremes of two kinds of literary forms, between annals and diaries on the one hand, which are episodic forms in which plot is impossible because while one is writing one doesn't know the outcome of the action, and on the other hand myth. Myth is the narrative form in which plot becomes not merely essential but egregious and finally symbolic. It seems to me exactly the peculiar privileges of memoir as a genre to make compatible these two extremes, that is Woolf's truth of fact and her truth of fiction, which is to say that it's the office of memoir to bring serial time which contains only stories under the dominion of memory which contrives plots. As Thomas Hobbes perceived in the late 17th century, \"Imagination and memory are but one thing, which for divers considerations hath divers names,\" which is a way of saying what Wright Morris says, \"Anything processed by a memory is fiction and one lives happiest by recognizing the fact.\" But general theory of memoir, which we can go on with for hours, is too large a topic for us right now. I want to inquire further into these principles by examining a sub-genre of memoir that interests me, that genre that Anthony Powell's character, Odo Stevens, calls \"That dicey art form,\" the war reminiscence. If we should find that war memoirs are much more fictional than is commonly supposed we might be tempted to revise our habits of historiography. We might be tempted to look at written history in a different way and to give it a different kind of credit from the kind we normally give it. I want to look, especially, at two of the classical war memoirs emanating from the British Great War; Robert Graves's Goodbye to All That, Edmund Blunden's Undertones of War, both written and published in the late 1920s. Now the challenge facing each of these authors as he sat down to try to deliver the truth about his experience in the First World War can be illuminated by a remark made in our own time by Kurt Vonnegut, who speaks to the problem of writing about events of the Second World War. As you remember, Kurt Vonnegut experienced the bizarre bombing of the city of Dresden, he had something to write about, he had something to tell us about, but he says, \"When I got home from the war I thought it would be easy to write about the destruction of Dresden since all I would have to do would be to report what I had seen.\" But the principle he discovered was that this kind of factual testimony is impossible without an artistic scheme. And the artistic scheme that will allow him to testify about what he'd seen in Dresden took him 25 years devise. The problem was not at all the problem of remembering, the problem was how to make a shapely memory out of one's remembering. As he says, \"Not many words about Dresden came from my mind just after the war, not enough of them to make a book anyway\" His words \"to make a book\" are memorable because there's the difficulty. That was the difficulty encountered by these memoirs of the Great War, too, each of whom found that to testify about the war at all he had to do so under the aegis of a scheme deriving from art, which is to say that to bring home the truth about any sort of series of event, especially one so one traumatic as the First World War, one had to employ the carriage of fiction. Now let me illustrate by talking for a moment about flowers. Nobody walking around Flanders and Picardy in France, whether in 1914 or 1980, can fail to observe the variety and profusion of flora there. He will see cherry trees and other fruit trees in blossom, marguerites, bright blue corn flowers, daffodils, jonquils, broom, hawthorn, Lily of the Valley, columbine, blue bells, all of these in great profusion. And he will also see here in there, red roses and bright red poppies. The question we have to ask is this: Why with all these data actually before them do men testifying about what they saw in France in the First World War notice only the roses and the poppies? They don't talk about corn flowers, they don't talk about daisies. The answer, I think, is that roses were indispensable to the work of the symbolizing imagination during and after that war, not so much because Belgium and France were literally full of them, but because English poetry was full of them. If you go through a standard collection like the Oxford Book of English Verse and count the poems carefully, you will notice that 1/3 of the poems involve roses, 1/3 of the poems are about roses in some way. These writers noticed the roses or tell us that they noticed the roses also because since the Middle Ages in the British tradition roses had connoted, not just England, as in the Wars of the Roses, they'd connoted it loyal and sacrifice as well. The roses is observed by the British are in France during the war somehow belong not to her, but rather to England. One man, Philip Gibbs, writing a memoir called Now It Can Be Told in 1920 writes this: He says, \"Life was good out of the line that September. It was good to go into the garden of a French Chateau and pluck a rose and smell it's sweetness and think back to England where other roses were blooming.\" And then he says, \"England, that's what the rose means.\" The rose also became indispensable to the popular wartime sentimental texts, all the way from the great Fritz Kreisler violin solo, which some of you doubtless remember, Roses of Picardy, to the song that Wilford Owen calls the favorite song of the troops, which goes, \"The roses round the door makes me love mother more.\" He reports that they sing this ever lastingly. Even they had an instinct for the relation of the rose and English literary tradition. Crimson roses are especially useful for the literary imagination. Crimson roses symbolizing sacrificial love occupy the center of one anecdote which we're actually asked to believe represents factual testimony although we perceive immediately that the anecdote is really made out of elements of folktale. The speaker here is a man named Stephen Graham and he's telling a story which he asks us to believe is true. \"A British sergeant,\" he tells us, \"was shot by sentries on his own side when in violation of orders he went forward to fraternize with the enemy on Christmas day, 1915. Sentries on both sides of the line had been ordered to kill anyone trying to re-enact the famous Christmas truce of the year before.\" \"This sergeant,\" Graham tells, \"is buried...\" and these are now his words, \"is buried in a little old cemetery by the side of the road. From his grave is growing...\" And we suddenly realize that we're in the presence, less of fact than of fiction here, classical English literature. \"From his grave is growing,\" he tells us, \"a tall rose tree with crimson roses blooming even in autumn.\" Chaucer, or Spencer, or Shakespeare couldn't imagine it more authentically, by which I mean more literarily. He goes on to tell us that the roses growing out of this one man's grave are especially noticeable because as he says, \"Beside this Sargent lies another man who was both captain and knight with only a dock, a particularly ugly weed, rising from his feet.\" Indeed, we are told on all the graves of this cemetery are weeds except on that of the man who gave his life to shake hands on Christmas day. Now, despite their actual conspicuousness in French cemeteries, blue corn flowers are useless if an effect like that is what one is aiming for. Now, the case of the other red flower inseparable from writings about the First World War, and I refer of course to the poppy, is even more complicated and interesting. What's crucial here is the poppy's relation to that sanguine flower inscribed with the wool that makes an appearance not just in Licidus but in the general tradition of English pastoral elegy. By the time British troops arrived in France and Belgium in 1914, poppies had already accumulated a ripe traditional symbolism in English writing, where they'd been a staple since Chaucer, and Spencer, and Shakespeare. Their conventional connotation was the blessing of sleep and oblivion, since they're related, of course, to opium. But later in the 19th century they took on additional overtones of suggestion, those glanced at by W.S. Gilbert, of Gilbert and Sullivan, when in his comic opera, Patience, he makes his comic hero, Bun Thorne, walk down Piccadilly with a poppy or a lily in his medieval hand. That is to say poppies now, in the late 19th century, began to be one of the properties of aestheticism and of its frequent attended homoerotic passion, either real or effected. For half a century, before the fortuitous publicity achieved by the poppies of Flanders, this association with homoeroticism had been conventional in England in works by Oscar Wilde, Lord Alfred Douglas, the Victorian painter, Simeon Solomon, John Addington Simmons and countless others. Thus to all the poppy poems of the First World War like John McCray's in Flanders Fields where you remember the poppies grow between the crosses row on row, and so on, as well as Isaac Rosenberg's Break of Day in the Trenches, to all of these poems exploiting poppies as memorial emblems adheres a trace of the meaning of Victorian poppies as the fittest emblems for elegizing the journey into oblivion of beautiful young males. You may remember McCray's poem and some of its details, his poem In Flanders Fields. \"Short days ago,\" his youths who are now pushing up poppies he tells us, \"loved and were loved.\" He's careful to enter that detail. And Isaac Rosenberg, while wearing a poppy behind his own ear in the presumed act of speaking in the poem, thinks about the dead soldiers, but what he thinks about are their homoerotic attributes. He thinks about strong eyes, fine limbs, all of the attractive attributes of what he calls \"haughty athletes.\" I think one of the neatest turns in popular symbolism.... And if you'll think about it you'll realize that popular symbolism is always right, it's always right because it's validated by everyone. One of the neatest turns in popular symbolism is that by which the paper poppy's still sold on the streets of London for the benefit of the British Legion on Armistice Day can be conceived as symbols at once of oblivion and remembrance. They betoken for the literary mind, this paradox, oblivion remembrance. They betoken for the dead a happy oblivion of their agony and waste, and at the same time they symbolize for the living an unprecedented remembrance of their loss. We can say that these little papers simulacra come originally from British pastoral elegy, they pass through Victorian and Edwardian male sentimental poetry, they go over to Flanders to flesh themselves out in the actual blossoms during the war, then they return to be worn in buttonholes on Remembrance Day. Now a word about birds. Just as only those flowers are noticed in France, which have achieved prior artistic and symbolic weight, so with birds. Out of the hundreds of species of birds available for notice in France only to prove suitable to enter what proclaims itself to be factual testimony. These two birds you will have guessed already, they are the lark and the nightingale. These two birds are noticed because they've already demonstrated their success as literary properties in English pastoral and aubade. Aubade you remember is that conventional kind of poem sung by one lover to another in the morning when the lovers have to part. The standard form of the aubade has the woman saying, \"That was the nightingale, that bird that just sang,\" and the young man says, \"No, you're wrong. It was the Lark.\" The young man is risking his life by being with the woman. She wants the night to go on forever, he knows it's got to stop. She chooses to hear the nightingale; he, the lark. Well, these two birds have been playing out their polar symbolism in English aubades for hundreds of years. One example is Juliet saying, \"It was the nightingale and not the lark,\" to Romeo. It's the same we gather with the troops in the trenches. They hear, they tell us, only larks and nightingales. They hear larks at the morning ceremony of stand to. They hear nightingales at the evening counterpart of that ceremony. In the same way, the nightingale enters experience from literature to serve as the ironic bird of darkness, just the lark enters experience from literature to serve as the delightful bird of dawn, and promise, and hope, and safety. Siegfried Sassoon writes recalling a moment in spring, 1918. He writes, \"Nightingales were singing beautifully but the sky winked and glowed with swift flashes of the distant bombardments, and there was a faint rumbling, low and menacing,\" and then he had adds, \"And still the nightingales sang on.\" And he concludes by saying sardonically, \"Oh world God made.\" Now let me turn for a moment to talk about Robert Graves and his classic memoir of the First World War, Goodbye to All That. The device of art that presides over this book which we're asked to believe constitutes memories of the First World War. The device of art presiding over this book is the paradigm of farce or even comedy of humors. Graves was a very, and still is, extremely intelligent and perceptive literary sensibility, and his sharp eye and impulsive literary intelligence told him very early that the army is like a theater in which comedy of humors is playing a perpetual . For example, the army offers a number of generically rigid type characters, which are the same now as they were in the Shakespeare's or Chaucer's day: we have the hapless private; the vain, glorious corporal, mad with a little authority; the sadistic sergeant; the adolescent, snob lieutenant; the fire eating major; the dotty colonel; the crazed brigadier. Like theatrical characters. all these are costumed conventionally, that is you know the person wholly from his outside appearance, the way you know the characters in , because they represent themselves conventionally. And like theatrical characters, these military grades are to be known only externally by gestures and lines. Randall Jarelle gets it exactly right when he says that graves is the true heir of Ben Johnson, the great English master of comedy of humors involving type characters of this kind. We will be astonished then to be told by one of Graves's explicators, the British critic J. M. Cohen, that Goodbye to All of That is, as he says, \"Harshly accurate,\" that it is, \"The work of a man who is not trying to create an effect,\" that it is in short, as he says, \"A direct and factual autobiography.\" Actually, it's not a direct and factual autobiography at all, it is rather a satire which exposes 90% of its characters as either knaves or fools, and which is built out of anecdotes bearing the profound impress of the techniques of comic writing for the stage. The brilliance and compelling energy of this book... And you can test this by it's being eminently readable, one never never gets sick of that book because it has a certain internal energy that's inexhaustible by a reader. The brilliance and compelling energy of this book reside precisely in its invention of comic plots, in its constant resourcefulness and imposing the patterns, the prior patterns of farce and comedy of humors onto the blank horrors or meaningless vacancies of actual experience. If it were really something like a documentary transcription of the actual as Cohen suggests it would really be worth very little and would surely not be as it is infinitely re-readable. It's valuable just because it's not true in that way. Now the are artistic form, or to use some terms I've used before, plot, which Graves lays over the unshaped stream of experience, or what I've called story, life being without plot, life consisting merely of serial events, the artistic form that he lays over in the materials of so-called life is that of the brief theatrical sketch or as he puts it, \"the caricature scene,\" those are his own words, \"the caricature scene.\" His scenes are theatrical because they present type characters- ... is presented in dialogue. Many of Graves's playlets in this book have all the black and white immediacy of cartoons with captions and indeed his skill at writing pithy lines will suggest the dynamics of the standard two line caption under a cartoon in the old Punch Magazine, it's a model that Graves has always had before him. For example, as late as 1955, ridiculing William Butler Yeats's shrewd irrationalism, he dramatizes Yates's reliance on his wife as a spirit medium whose maunderings can be turned into saleable poems. And Graves contrives this little dialogue: Undergraduate who meets the Yates walking across some academic common. Undergraduate says, \"Have you written any poems recently, sir,\" and Yates answers, \"No, my wife has been feeling poorly and disinclined.\" You can see it as on a stage, it's followed by a blackout immediately. and you can hear the burst of laughter at occasions. Well, whatever materials they embody, the effect of these characters scenes of Graves is farcical, and they rely on a number of techniques associated with comic writing for the theater, that is some depend upon astonishing coincidences, some deploy the device of climactic multiple endings. The audience, that is, thinks the joke is over and is then given one or sometimes two even funnier lines. Some expose, as comic writing always does, the disparity between the expected and the actual. Some like musical sketches present comic encounters between type representatives of widely disparate social classes, always good for a laugh. Some involve the main characters not knowing some crucial fact. And some more melodramatic depict rescues or salvation in the nick of time. All operate by offering the audience a succession of little ironies and surprises. A typical scene, which some of you may remember with delight, is the one of the grave judicial inquiry into the excrement deposited by Private 99 Davies on the Burke Square at Wrexham, it's a perfect Ben Johnsonian comic scene with each man in his humor all ready to be staged by a cast of six, it's done wholly in dialogue. And we're even given stage directions by Graves like \"offstage\", and \"pause\", and \"in a nervous sing-song.\" But here's another example, this one fusing the traditions of stage farce with the traditions of the Punch cartoon. Here two men appear before the adjutant to report that they've just shot their company sergeant major. The adjutant said, \"Good heavens, how did that happen?\" \"It was an accident, sir.\" \"What do you mean, you damn fools? Did you mistake him for a spy?\" \"No, sir. We mistook him for our platoon sergeant.\" Hardly the work, I think we can agree, of a writer who is, in Cohen's words, not trying to create an effect. Graves is trying to do nothing but. If more emergent occasions like the absurd and murderous attack at lose began as farce they end in something close to . Even Graves's anticipation of his feared mental breakdown at the front he sees in theatrical terms, that is from the outside. He imagines how it will look to spectators. He says, \"It would be a general nervous collapse with tears, and twitching, and dirtied trousers. I had seen cases like that.\" Of course he doesn't talk at all about what it would feel like, it's what it would look like that's important. The critic Cohen notes Graves is concerned with accurate documentation in this book, and he is right if he means that Graves presents a number of documents and transcribes them accurately, but you don't have to read very far in this book to notice that there's something odd about all these documents, they're remarkably inapt, fatuous or erroneous. In this book documents of all kinds, the normal materials of a sometimes too trusting historiography are exposed in all their dubiousness and complexity. Almost every one of these documents even Siegfried Sassoon's great pacifistic statement called a Soldier's Declaration, almost every one of them betrays some dissociation from actuality or some fatal error in assumption or conclusion. To put it bluntly, the documents don't seem to know what's going on. For example, there's the catechistic history book of Grave's childhood which he quotes, that book he remembers begins, \"Question: Why are the Britons so cold? Answer: Because they painted themselves blue. Next question...\" Then there are the wartime propaganda news clippings about the priests at Antwerp hung upside down by the Hans as human clappers in their own church bells. There's the laughable lose attack order. There is the colonels letter deposing not merely that Robert Graves is dead but asserting furthermore that he was very gallant, both of them lies. There's the erroneous casualty list with Graves's name among the dead and the fatuous memorable letter of the little mother which argues that the bereaved mothers of England liked the war so much since it's enabled them to offer their sons as sacrifices, that the war must continue at all costs. There's even the record of a farcical mistransmission in Morse code that sends a battalion to Cork when it's supposed to go to York. Somebody's got the wrong letter, you see? Then there's the autograph collector's disoriented letter to Thomas Hardy, which begins, \"Dear Mr. Hardy, I'm interested to know why the devil you don't reply to my request..\" There are the lunatic examination papers written three or Graves' students at the University of Cairo. And in a new epilogue written for the 1957 revision of this book, Graves tells us that one reason he was suspected of being a German spy while he was harboring in South Devon during the Second War is that someone made a silly lying document out of a squash in his garden by inscribing the words \"Heil Hitler\" on it. The point of all these is not just the obvious point that is humankind's immense and touching liability, to error, folly and psychosis. The point is also the near impossibility of a rational or even a very clear sighted historiography because the documents on which a work of history might be based prove to be so mistaken or so loathsome, or so silly, or so downright mad, that no one could get through them without coming badly unhinged. From Graves let me turn for a moment to Edmund Blunden, author of Undertones of War, and let's inquire about what is intervening between his perception of the so-called facts and his rendering of those facts in his own writing. He is another whose literary behavior would seem to imply his discovery that without a high degree of art there can be no factual testimony. Although his book Undertones of War has been designated by some critics as a true memoir, it's actually as far from the literal as any other personal account of the First World War. The presiding figure to which everything yields in this book is that of English literary pastoral. What complicates Blunden's factual recall of the events of the war is his conviction that the rural countryside is virtually identical with literature. And I'd like to propose this, by the way, as one of the great imaginative acts of the last 60 or 70 years. Blunden once wrote a book called Nature in English literature, and that's obvious enough, and it's not a very good book. But I can easily imagine him writing a companion book titled English Literature in Nature. Indeed, that could be a subtitle to his Undertones of War. To Blunden both the countryside and literature are alive and both have feelings, as we say. Both are menaced by the war. For the countryside of France to be brutally torn by shells is a scandal close to murder. It's a catastrophe for Blunden bordering on the burning of libraries. \"The naiads and hamadryads,\" and those are Blunden's terms, that he conceives lurking in these yet unravished countryside west of the Somme in 1918 are actual to him, more actual perhaps than to Milton where the nymphs of Il Penserosso whose Woodland huts are threatened there by the rude ax. The French streams and woods of Blunden's timorous spirits are in the path of the great German counter attack of March, 1918, and it's their fate, and not at all his own, as well as the fate of pastoral poetry and of all literature and of all civility that prompts him to utter this bitter conclusion, \"I might've known the war by this time but I was still too young to know its depth of ironic cruelty.\" The way Blunden proceeds in this book is to enforce an ironic juxtaposition between the facts of daily action at the front and the images of English literary pastoral. And some of these juxtapositions are so subtle that we rub our eyes in wonder and admiration, like the one in the hated general's criticism of a lieutenant's written account of a patrol, the general returns the report with contempt and writes on it, \"Too flowery for a military report.\" One suspects that almost always in this book actuality is being made to yield to the demands of Blunden's gently ironic pastoral art. Can we believe, for example, that before the war his orderly was actually a gardener who now in moments of crisis and danger comforts himself by singing aloud the popular song \"You Must Sprinkle Me With Kisses If You Want My Love To Grow\"? Now, let me conclude with some remarks about the dependence of memory upon various forms and patterns and paradigms which are foreign to actuality. To report what has happened obviously one has to remember it, and to remember it one has to be assisted by some form of mnemonic. From the most literal entries that we might make in a diary or on a calendar, to the most fugitive triggers of memory like smells and tastes, like, say, the taste of a petite madeleine dipped in tea. Most mnemonics.... We realize when we think about it, most mnemonics are intellectual schemes or metaphors like the image of chronology which belongs in here and not out there. The image of chronology or the figure of causality, these are schemes that are in here not in nature, not in the world of fact or data, but rather in mind, in the world of fiction or plot or significant cause. Without such schemes narrative recall cannot take place. Such schemes derive not from the world of actual occurrence, which is the domain of story that is mere serial event or the domain of fact, but from the world of idea, which is the domain of plot or the world of art. Now the figure of plot which most often assists factual testimony about war time events, or indeed about any traumatic events, including airplane accidents, auto accidents, earthquakes, typhoons, tornadoes and so on, is that figure of irony of situation. Let me give you an example. I'll refer to some writing by a completely unknown person named Charles Bricknell who was a gunner, that is an enlisted man in an artillery battery, in the First World War. In writing about what he remembers from the war, he behaves as if his understanding of the irony, which the mind has attached to events, is what enables him to recall them at all many years later. He was in an artillery battery which was once being relieved by a new unit fresh from England which had never been on the line before, and he writes, \"There was a long road leading to the front line which the Germans occasionally shelled and the shells used to drop plunk in the middle of it.\" In other words, the Germans had this obvious road tapes and the trick was to stay off it. \"This new unit,\" he says, \"assembled right on this road ready to go into action in the night.\" What now rises to the surface of Charles Bricknell's memory is material he needs in order to shape up this memory into something truly memorable, that is an ironic component. So what he now remembers is the hopes and illusions of these newcomers. He says, \"They was all spick and span, buttons polished and all the rest of it.\" Indeed, they're so new and sweet and trusting that he tries to help them. He says, \"We spoke to a few of the chaps before going up and told them about the Germans shelling the road but of course they was not in charge so up they went and the result was they all got blowned up.\" Now, contemplating what he has now made into an ironic plot, Bricknell has moved to an almost Dickensian reiterative rhetoric. He says, \"Oh, what a disaster. We had to go shooting lame horses, putting the dead to the side of the road. What a disaster which could have been avoided if only... if only the officers had gone action the hard way, that is overland.\" And he adds, \"That was something I shall never forget.\" Now it's the \"if only\" rather than the slaughter that helps Bricknell never forget this scene. A slaughter by itself is too commonplace to be recalled, it's only when an ironic plot can be seen to be suitable to its interpretation that it persists in the memory. In gathering material for his book called The First Day on the Somme, Martin Middlebrook, a British historian and journalists, interviewed as many of the survivors, now, of course, pressing 80 years old, as he could find and he asked them one crucial question, he said, \"What is your strongest recollection of the war?\" What's notable is the way these veterans use the mnemonic of irony of situation to achieve what they call their strongest recollections. One man, for example, says, \"My strongest recollection, all those grand looking cavalryman ready mounted to follow the breakthrough,\" and he adds, \"What a hope.\" And another says, \"One's revulsion to the ghastly horrors of war was submerged in the belief that this war was to end and all wars and utopia arise,\" and then he comments, \"What an illusion.\" But ironies of situation like that do not always transmit skeptical news. Testifying about the appearance of the battlefields of the Somme after the attacks of 1916, John Macefield the poet at the moment acting as a government propagandist asserts, and when he asserts this he clearly expects to be believed. He asserts that he came upon the body of an English soldier beside which a pocket Bible happened to be lying open, and not merely lying open but lying open precisely the 89th Psalm, and not merely lying open at that Psalm but exhibiting the text of that Psalm in such a way that \"the only legible words were, 'Thou has broken down all his hedges; though has brought his strongholds to ruin.'\" Now Macefield has no doubts that he will be believed. He is not consciously telling lies and the reader is not reading that as if it were a fiction, he's reading it as if it were a fact. The reader requires the fiction to accept it as a usable fact. Macefield knows, in short, that readers will demand of any kind of factual narrative that it'd be all but indistinguishable from the most calculated art, otherwise the writer or the speaker will not be read or will not be listened to. Now in his way, Macefield seems wiser than many later literary commentators who seem sometimes too literally to embrace the illusionistic claim of memoir to lie at the center of the literature fact. It's a sobering thought, I think, that memoirs of the kind I've been focusing on here have been used as fundamental materials for the writing of history. We might be led to the conclusion, if we were skeptical, that there can be no history, there can be only literary history. For after all our access to historical events, even so significant an event as the First Word War, must be through the makers of plots, that is what Aristotle calls poets. As one critic has observed, our evidence for what we call history is itself verbal. A document, a memoir, a charter are all sematic acts whose correspondence with actuality, that is whose whose truth function, is no greater than that of other verbal modes. We are thus in a predicament as imagination is trying to understand what's going on. We are suspended between fact on the one hand and art on the other, and we're prevented by each from ever wholly understanding the other. Our predicament is implied with perhaps a deceptive levity by a very great critic, Oscar Wilde, who in his critical dialogue, The Critic as Artist presents two characters; one is very named as Earnest, the other is called Gilberts. After discussing this paradox that I've been developing for you tonight, the well-named Earnest asked this question, \"Life then is a failure?\" and Gilbert answers, \"From the artistic point of view, certainly.\" Thank you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/45488/file/118446#t=0.0,3417.456"}]}]}]}