This book is my first biography. It will be the last. Write. E too hard to i learned my book belongs to the category, the life and times biography. In fact when i began, i felt the times would dominate. The book would focus on the political and social culture of world war ii, of of the cold war. And that the life would be a illustration. That was not to be. The ea langeis the star of story. With her forceful personality, drivers into the seat. And in a certain sense took charge back and forth quite a of years. Biography is one life seen through another life, in this case, mine. Id written a great deal about gender. Forced me to examine more closely how gender an s in the life of individual. This lecture forced me to look spell out how i was doing and warn you and tell you that what im about to say is not in the book at all. Ts a kind of a meditation book. The fact about the now thinking of the issue of ender, it lived and it was produced in one context. But it takes on new meanings. It later. N see we tryer how stringently to exclude contemporary meetings, they intrude. Had to obtain a double awareness of the past or the Dorothea Lange lived and the present. I make the observations of langes will. She is no feminist. She did not want her work discussed in gender categories. She wanted to be a great photographer. Wanted to be a photographer, not just a great woman photographer. Subjects. Please her so im doing it anyway. Let me talk about the personal, the political, and whats in the see them s as we today. Start with the personal. He was a middle class child in 1885 until two traumas hit. Polio. He was 7, she got when she was 12, her parents separated. The physical experience of the and terrifyingul and she emerged with a permanent if small disability. Shes deeply upset by her partners departure from the house hold. Biggest blow was how the blows were assimilated and understood by the young dorothea. Embarrassed by her disfigured foot and lower leg and by her limp and urged to try to disguise them as much as possible. In this way, even her polio generalederned because her mother had such what her body would look like. Shorter, ts got Dorothea Lange began to wear slacks. Quite unusual and not at all fashionable. A skirt again wore less than floor length. She was a photographer that took feet many, many images of and legs. With her typical magic could make photographs of just feet. Her mother also presented the marital separation to her as a desertion, an abandonment by her father, although i learned that, fact, it was actually more mutual and more ambiguous. I wont go into that story. Thats in the book. Dorothea felt hat abandoned. She developed such a rage that when shether arrived in San Francisco in 1918 and where she was to spend the rest of her life, she adopted her mothers maiden name which was lange. She never mentioned her his name to anyone, even her husbands or her children. That did not make her response determined or predictable. Assertive n with an temperament. Of wandering ice alone in the streets of new ork, first Lower East Side where she attended middle school and the Upper West Side where she attended high school and the entire aye plan of manhattan. She may have had a limp but she extraordinarily strong. This walker in the city was also autodidact, selftaught. She was an immediate okra student from school. University. Attend but she discovered on her own he modernist art that was blossoming in new york. She taught herself photography first job obs her person in a chain of cold calls to people. Worked as a receptionist at studios and graphy basically gained on her own these photographic skills. Also a german american thought talent and gave her a camera. Me. Use i should have shown that earlier. Younger rothea and her brother, it was given to me by a descendent, i figure she might anywhere between 8 and 10 in that picture. She moved to San Francisco in 1918 and she opened a photography studio in an upscale location. Within two years, she had become he portrait photographer for San Franciscos wealthy art patrons. Derived from the conjuncti of a modernist visual sophistication. As you can seeed here at the top picture the romantic misty pictorial style dominated in the 1920s. To mold the began conventions. Incidentally, for those of you who know anything about San Francisco, the man at the bottom the most r, one of powerful men of his time in San Francisco. She attracted clients with a the ian elegance for students ambiance and photographs. Backgrounds d the common at the time. She never used props. Not ask her subjects to smile. 14e used angles and created emotion and mystery by hiding part of her subject. Her work represented the acme of in portraiture. She used what she learned to would say to she reveal individuality in a deep inner life. She endowed her subjected with inferiority. Her clients felt she could capture their essences. Sensitivity ir shown out from the images that she made. As she had begun to do in new york, in San Francisco, she integrated herself into a made herarts crowd and photography studio in a Meeting Place of artists and the more citys wing of the wealthy arts patrons. By 1920, a year and a half after she arrived there, she married citys most desirable bachelor artist, the painter, dixon. And Maynard Dixon was throughout langes life much more famous. Hes a western painter and he fans. Any, many his pictures can sell up to a million dollars. Dixon dressed in black with cowboy boots and hat cut a figure at magnetic the center of a bohemian crowd artist. Limping woman had hooked the man in bow home yeah. Patterns unusual or perhaps not so unusual among women artists. O she was not only the exclusive housekeeper and parent, she not up with maynards womanizing and months long on painting trips, but she was also the main the family. For n one sense, the depression forced lange out of the studio extra time she had on her hands. She was chafing in the confines studio and the marriage. In her seemed to fuse mind. She felt compelled to take her streets. To the of streetst, she felt people or invoking her hostility. She foundatified when they often did not notice her. Later she would understand she had a method more making people notice her. She said about her early work in im treets, i can only say new, i was looking at something. Sometimes you have an inner you have that you are not taking anything away from anyone, their privacy. Reassurance. Worked the rest of her life. Progressional economists who taught at uc her about o educated class and race exploitation and the extraordinary new graphic project at the deals security. Nothing like it. Amazingly rs, an hardworking group of about a dozen photographers made several thousand photographs of american rural life. To project was initiated create propaganda for roosevelts new deal but xpanded to create a democratic picture of the rural united states, one that emfa sized particularly those who did the than the owners of the great plantations of and california. Theres several paradoxes in langes life, including the fact quintessential city girl ended up working for the agriculture. F never even having visited a farm when she was hired. But my favorite of the paradoxes it turns around the ypical story of a womans emancipation. And the usual story, you start ith the woman who is a dependent on her husband into perhaps getting a profession, income a job, having an of her own and feeling independent. Lange reverlsed it. Got the opportunity to become a great photographer when a second husband who ould support her on his academic salary from the university of california from the responsibility for earning her whole family. It was a large family. Because when we put the two had two together, she children on her own and four step children. Now i said i was going to talk about the personal and then socialist struggle, but, of course, historians know impossible to separate the personal from the social historical. Episodes are more constrained by the social than others. I want to illustrate by sketching out one account of langes life. One aspect of her life. Is her mother. She she married dixon, inherited a 10yearold step consty, short for constance. This is her. She was furious. Alcoholic mother. Then for a time had been her fathers only love. Maynard, instead of providing reassurance, he immediately turned turnover turned her sole charge hea as and quickly after the marriage resumed his whole pattern of trips into theng desert to paint. She was flying high with the wanto practice and did not to be stuck at home while maynard and his friends socialized in italian restaurants. She had her own rep sentiments of this dependent thrust upon her. For whatever the reasons were, she was unable to mother this unhappy girl. Terribly, d a terribly angry relationship. Still, when she and maynards, two sons were born. Sorry, that comes later. You can watch it now. S with consty, maynard turned over the two boys entirely to dorothea and took no for them. Lity in 1982 when they were beginning were 7 and the girls dorothea and maynard made the first of many decisions to place their children in foster care. Divorce, remarriage, and security job confirmed the practice. And 1940, all children, were in foster care placements for parts of of years from a couple weeks to three, four months at a time. Oldest son, e me when his feelings to i interviewed him about when he felt about when his mother and and i would come to visit quote dan dixon. I remember standing outside of the place where we lived waiting and waiting for that black model the day wasand when over, i will remember watch i go weeping as ng and the red taillights receded. Lange, i had tot reckon with this pain. Have discussed it with many, many friends and not a single one of them who was apparent and imagined doing such a thing. As an historian, im obliged to sons resentment and recollected sadness to the 1930s and its standards about motherchild bonding. Then frequently solved child care problems by turning to mothers, neighbors, parent, and institutions in that order. Oor mothers placed their children in orphanages temporarily, foster homes, those afford to pay. The rich sent their children to boarding school and did this young g at very, very ages. Or they had fulltime livein nannies. Although day nursers were becoming more common, they remained rare in the 1930s and further more fulltime day care the stigma carried of a charity. It was characterized by overcrowding, discipline, and poor hygiene. The Development Held that foster care was this superior choice. And in a day care center, they easoned, as in an orphanage, children were responsible for groups of children. In foster care, by contrast, the mother, would have a family, possibly even a father. Ironically the Child Development wisdom of the time assumed a contradictory premise that eparations and shifting caretakers were not inevitably traumatic for children so long theyre from a mental and physical needs were met. Experts today motional hildrens el and developmental need for bonding exclusively with one or timeless ando be a irreversible fact of human not what t was childhood experts thought in the 1930s. Anguish and ormous guilt. Ulcers would cause her pain in later years and lead to her death. But lets look at this a little more closely. Maynards. N were and he did not share any of these feelings of guilt. He visited vorce, one bit of and not responsibility for them. Not even financial rep responsibility. Supported by lange and her new husband, paul taylor. Paul taylor ing, had three children and he also dorothea andover to thought it was just fine to place them in foster care. Talked to all of those who were alive, none of fathers at all. Understandable. In 1935, few people thought fathers had care taking responsibilities for children. But i want to say that langes from placing out the children derives not just from mother, but a bad also from something even more to her and that was that most unwomanly of drives, ambition. Taken boys hasnt been from me by well, she faced of hernting gender norms time. She not only charged ahead but made herself a second marriage a husband from heaven. If you excuse my nick call language. Paul taylor had pride and encouragement. He never thought she should stay home with the children. Genius and he was a he adored her for it. The unique spin on the womans emancipation. Find the right husband. Now a few words about the in the of gender federal government in general and in langes government job and in the class struggles of the period. Images of two new deal murals and i chose them because theyre typical. They reflect visually what im policy which bout is that virtually every new deal had conservative subjects about gender. It either excluded women or excluded them from public jobs consigned them to puny relief payment, or if they did they limit them to make work jobs such as sewing attresses in federal sweatshops. Social reform programs, security, the wagner act, the air labor standards act excluded from coverage almost all men of color and women of all races. Employer, the department of agriculture was one of the most discriminatory federal agencies. It was the biggest operation of the federal government, bigger than the defense department, then called the war department. He definition of the constituency rested on gender, assumptions. Lass it considered farm women not as wives. But as farmers it ignored farm workers and erved the interest of large growers. Within the department of Farm Security e radicals gresses and who sought to help the needs of ruined small family farmer, farmers, sharecroppers, and migrant farm work earles hit depression. Not surprisingly, the fsa, the Farm Security, was under attack, not only from the more but also from powerful man in the department of agriculture. Marian post walcott was hired by the project in the very last years. Langes salary was lower than experienced ess men. On the job, she was caught in a double vine. She was on the one hand treated as a woman but also expected to work like a man, that is, a man who had a wife. For example, all of the other photographers who were on the road for months and a time took and occasionally their girlfriendses along as unpaid assistants on the road. Lange who needed the help most, hired the sop ut of a friend who became incidentally a great photographer himself, and paid of her own pocket and out of her own 3 a day per diem allotment. She bought meals for him too. Paul taylor, lange had been influenced by the labor time. Ents of the notably the long shoremans strike of 1934. Also the agricultural strifes of californias central imperial valleys seeing extreme violence. Of people who may remember from our own lifetimes the struggle that ended with the farm on of the united workers may forget or not realize that there were many s iled struggles in the 1920 and 1930s of migrant farm workers to unionize. N several cases, the big growers arranged to get hundreds deputized by county sheriffs so as to be able to eat up strikers, educators, journalists, and federal mediators with impunity. Growers built private stockades their h they locked up opponents without charges. Lange tried several times to hotograph these strikes and always failed. Her disability meant that she quickly, move specially when burdened with heavy cameras. I show these because one 35 camera, she used very, very large and heavy view ameras and when ever possible also used a tripod. She had a lot to lug around. Photo journalist robert kappa pictures sly, if your arent good enough, theyre not close enough. Lange could not get close enough. And none of her pictures of these strikes and other similar conflicts turned out well. Now, i think this failure had a lot to do with gender as well as disability. Terrified lange. And she withdrew. The labor movements of the 1930s all assumed tactics, discourses, and even strategies. Ninterested in organizing women, the cio organizing themselves nsulated in the alternative strategies brought to the fore. Well, the class violence of the exclusively ost generated. It did have effect. Timid she might have been physically, in mind and in pirit, lange was extraordinarily brave. She defied not only gender but as racial conventions evident in her photography of color. Of influenced from her San Francisco days by her close conswella conaga that you may be familiar with. Taylor in rse, paul anglo scholaronly studying mexicanamericans. Consciousness group, first from travelling through the San Joaquin Valley and earning how migrant farm workers were treated. The antiracist development then grew further through her work in Southern States from North Carolina to mississippi, sharecroppers. For the Farm Security she made s of people of s olor, approximately 1 3 of her total output until gordon parks. The very, staff at very end of the project. This fact is not well known she did not control any of this property. She was supposed to send raw, film to washington. They, in turn, distributed it of of charge to all sorts media but they decided what to distribute. And they considered what they acceptable to the main stream. Later, she tried once again to do something that she controlled, she defied not u. S. Government and public opinion, but also defied the organized of her which many riends belonged in her risque photographic opposition to the americans. F japanese back with norton, i put out a book, a collection of her of photographs of the japanese interment. Impounded and that is a pun because its both about impounded people, but it is a fact that which refused to distribute them. Now i want to turn to the photography itself. The outset, the assignment was to illustrate the and its conditions, to make pictures of falling erosion, the oil dust bowl of new and old farming methods. Lange would influence the projects whole legacy through portraiture which is did. She and in a certain sense all of she was the same eye that she had turned on the rich. And directed it toward the poor. Producing portraits that made them interesting and memorable the viewer even as she made it. Instead of the blank backgrounds the studio, shep now s of individuals in their context. Generalizations, but particular, storiles. Stories. Lange was fem newsing the field. Examples of earlier examples. They tended to show either faces but rarely both. Of walter like that vans was cool and inert in comparison to the emotional heat seductiveness of langes ngles are usually photographed frontally, immobile. , but never gnified lirtatious, conversational, or expressive. This is walter evans for those recognize it. t a synonym for selling out integrity. Personality, activity, and emotion in her photographs. However, there are no lange unlovely people. No doubt she may have passed over some subjects. But more importantly she made subjects lovely. If we have time in the questions, well talk about how that. D the understanding of portraiture from the studio which that a portrait is a collaboration and that as a result for security and b in her later documentary work. To put the photography as a service to the client, not so at the time, it was considered closely related to interior decoration and fashion makeup consultation and photography. But placing the documentary at the service of her form was a as well as a female ractice and one that perfectly parallels her husband paul taylors social science. Aylors strong sense of responsibility, not just to document but also to correct the injustices and sufferings since the scholarship uncovered had of the wholeristic field of social science in the progressive era and now being reinvigorated during the depression. Critics deployed some of the worst gender rich cliches as ntuitive set to be characteristic of women. Lange lived instinctively, photographed spontaneously. An artist te for like Dorothea Lange, the making great perfect anonymous image is a trick of grace about which she can do little besides herself available for that trick of grace. Another described her a piece of white photo sensitive paper or like an unexposed film on to which light and shadow marked impressions. Point here is not to deny the gendered aspects of the work, categorizing it as instinctive, far from a she was an ptor, assertive visual intellectual, selfconscious, working systematically to develop a photography that could communicative and reviewing. The years in the studio finest ed to the controls, the controls of lighting and positioning angles, of camera speed, opportune and timing. Just want to give you one little example. Art show, art of the the famous migrant mother was the product of taking six or photographs of that same group of people working her way and carefully to the ones she liked best and that doesnt count all of the would have thrown away. She carefully planned every dozen aph, often made a poeksz euros. Those who observed her unanimously remarked on how slow her tempo was overdetermined by her disability, by her large the need to calculate light. There were no light meters yet 1930s. Many expert photographers cannot instinctively because they operate quickly as a result of years of practice. Ange had that in her eye, but not in her body. After she began working with aul taylor, she read extensively in rural economics and sociology and listened to before picking up the camera. Her every expose euronot to maneuver in very the dark room, was the result of study and practice. That lange sometimes characterized her working style as instinctive, but she was wrong. Many artists experienced their this way, male as well as female. Expressing nge was her guilt and fear of her ambition and mastery. Think, important, i than what she said was what the photographs show. Formidable lange expert has shown, her photography disclosed a transgegsness of gender norms. Lange herself might not have recognized it. The culture of the new deal wage to family assumptions, strengthened the womenreadwinner, pictured as domestic as helpers demand, popular hile the artistic icon stereotyped Women S Health mates and earth mothers, lange visualized women often pendent and vindictive. It was a photograph from the studies about difference. Shipbuilding. Often thin, often delicate. Always tough, whose work shows at hard labor in the fields as often as men. Her loyal subject matter was responsible because the sexual division of labor was ommon in hardworking people, very, very common for women to work in the fields and to follow the because women are farmers as well as farmers wives. Quintessentially did not show women as wives but as world prolleatarians. This take is not only working in field but also to the domestic labor. N the searing photographs of the Living Conditions of farm how women e showed struggled even while camped in the field to create a semblance of order. His is one of my favorite general res though theyre not well known, thats still art. Is a still life of the makeshift kitchen that a woman migrate farm workern as created in where she lives is literally a canvass ofn to supported by a couple stakes. It ees exextraordinary mare because if you look at it closely, you can see how people owned, how they managed. Women tried to create kitchens bedrooms, they cooked and bathed children, washed clothes living in tents, leantos, or sharecropper houses. Nothing less than create i creati civilization out of wilderness. In her words, lange articulated ideas. Ional gender she often talked about how she believed that women had unique were ons for which they destined. Seeing. Que ways of but winding through her maternal theres always a subversive dimension. She made many madonnas. Is one of them. Its not a typical madonna. Nterestingly enough, shep almost never photographed whole units. They are mostly childless. Mother and child forped a couple. Common it a madonna a motif in the Christian Culture and the she was raised First Americans were glued. Are anges madonnas startling, thafr toughness does not just appear. Soviet like heroic women. They can do everything. However hard the conditions, fend ill survive and depp their children. Fragile and soft as this nursing no er may be, theres mistaking the stealy determination in her eyes. For lange, motherhood was often represented as a burden. Constant vigilance against danger. It would of course be easy to back to s anxiety langes own guilt at leaving her other than that. That. M not convinced by the strength and anxiety is also mode of recognizing mothering as hard labor as recognizing mothers as workers. The migrant mother madonna shows a woman whos turned away from children rather than toward them. Her photographs of pregnancy are striking. Ly these images were still impolite 1930s. Indecent in the some of you may be aware that, example, no pregnant woman was allowed to hold a job that in public. Earing be several decades became ublic pregnancy respectable. Lange made several appearance, cliches. Nal some have ambivalent or attitudes about it. Surprising at all. From ill a big step away the sentimentalized joy thats associated with the useful images of mother hood. Like many female photographers, pictures of from the security photographers, some of her hildren are unlively, displaying the standard appeal of children for viewers of photography, although not so among pictures of people being shown. Are but many of them are also not so happy. I find her pictures exquisitely ensitive of the complex el motional lives of children taking even children seriously individuals. This is a particularly striking correlation. He girl at the top who is a part of a migrate farm in the state of ireland. The girl at the bottom take twon ecades later is a palestinian from the time when she was travelling around the world doing a lot of photography in and some in latin america. Typically not are with their parents, perhaps neglected. By showing circumstances beyond the control of the caring parent. View of poor rural children was the view of the mothers no doubt charged with emotion about her own children and her own childhood. Identification as both neglected and neglecter adds to embedded in trage the many images she made of and exploitation. The one hand making what she saw made her own childrens pain guilt tense and her own less keen. Hand, daily encounters kept her from escaping the awareness of childrens suffering. Perhaps the most unconventional re langes many images of fathers with children. Padonnas. Ll them they are so many of these and for the so unusual time. Time. These images are tender. Her sensitivity of fathers may be another product of the close side since fatherchild relations are a common aspect of rural life as e the children are not separated from their fathers as cities. In but whats interesting is that theyre not only tender, but quite a number of pictures like the one on like your right, just like its my right. That show so much joy. My one on the right is favorite. Basically a picture of a migrant arm worker who has just returned to where theyre camped frout a hard days work in the field. And just completely delighted by greeted efficiently by two children and a little dog. Of a child gives them dignity. Hen theyre appearing together with the wives, theyre often in weakened conditions. Dont have a picture to show you of that. Dejected men as i call them are a lange depression specialty. They sometimes stand alone, they in groups, they slump on street corners, they sit on over park bench, etc. But even these dejected guys are not unattractive. They are by no means abject. They are graceful and softened. Men howed idled unemployed as worried and despondent yet absolutely manly. Always attentive to masculine handle humiliation. In the japanese interment, she particularly sensitive to teenage boys. And i quote, they were the ones most. Really hurt me the the teenage boys who didnt know what they were what she meant they thought they were american, but now the American Government is saying not american. A wra of people have being dignified in such a situation and not asking questions. Boys, they ricanized were loud and rowdy and they were frightened. Repeated it in her Extraordinary People of color. At the time ls particularly perceived nonwhites innocents. Ed racists saw them as depraved, lazy, and stupid. Groups saw them as somehow depleted. Example of ant an hat im talking about, look at book, you ldwells have seen their faces. Its quite, quite upsetting in its racism. Langes images stand out for heir lack of pity, lack of objectification. She shoots from below in order heightened the dignity of her ubjects, and social subordination, even those in bodily defense did not obscure a persons energy and above all complexity. Typically s are restrained, even the photographs of nonwhite women more charming than those of men. Theyre less depressed but they never simple. Perhaps what makes a lange is that most gripping the subjects retain a zone of reserve. Those who look down on their subjects as many photographers preceded lange did believed, i think, that they knew their ubjects, knew them entirely, what ho they were, knew they were like. Lange suggests that the photographer does not understand everything about her subjects. It remains a mystery. This may be the most respectful message. Enging to repeat, i wonder what her thoughts would have been just a longer and experienced the movement when she died in 1965. But her photography when with the questions we can ask today seems almost to uggest a questioning and awareness of the contradictions only barely subterranean. Suspect this consciousness or unconsciousness was not unique to lange, but could be found many, many women whose lives and work in the 1930s in of the depression simply could not fit the gender that the depression and the new deal era were trying to reaffirm. Just possible that artists like ange were especially sensitively in touch with the aw spots created by this lack of fit. Nd i want to suggest that despite the absence of any feminist action, it could be found in the 1930s. Thats it. Thank you so much. [ applause ] delighted to have questions comments or arguments or whatever. Process for photographing the subjects. Questions you mentioned is she had a process for not being seen, not being oticed, which would allow her to get a much more spontaneous, from them. Ction slowness. Ggerated her she knows from the portrait work that everyone stiffened up the camera. She has to get them not do that. One way is to have them forget about her. And sometimes she would be very, very slow. She would try this tripod over position over r there. And this camera preferred to loaded ee cameras fully change she could according to what she was going to shoot. A found if she did that for while, people got tired of watching her, and they would and on her for being ready then she would take a picture. The other technique was conversation. Relation, she said you not ask and that sends messages and away. E run how do you get to the next town . How far is it . Would of her wishes, she ask for a drink of water. And she would drink it very, very slowly. Kids were interested. She forced herself she forced herself to let her children hold and examine the cameras. She would have a whole gaggle of kids around. To make ts come over sure the kids werent bothering her. Her purpose in all of this in get people to o relax into their natural body language. She believed that if the although i said before she peoples faces revealed things, but she was how more interested in bodies and how i didnt show you really any of these things, some of her most extraordinary photographs are portraits, portraits that dont all. He persons face at think gesture and position a great sense of the emotional state of that person is. Sir . Question. A once she sent her photos off to the government, how did she get any of them back . Conscious a struggle. This is not just to her, but to all photographers. Heres the problem. Photographer wants to see the product of her wroshg so that he or she can criticize it adjust. Maybe the lighting is not wrong and the speed is not right. So you want to see them right away. They were supposed to make work prints from the negatives and back. Those but there were times when there was about six weeks longer to see them. T she was furious. Constant argument. Correspondents go on and on about that. One thing she did, everyone did, they cheated, they kept the photographs. Send them. Otherwise, something wrong with what they were doing. Use them in ldnt any way. They couldnt allow someone to publish them. She took a trip and then learned hey had been place in the National Archives and took a trip in washington to see them 1964. Shed done it in 1932. A huge, huge problem. I got the impression that her kids really forgave her. Is that true . Did you develop a rapport with any of them . Yes, i let cease. I had spoken with both of her ons and one of her step children who are still alive. Nd many, many of her grandchildren were often in my generation. Nd i was i was actually so impressed with how judicious they were in speaking to their mother. Is nice for me, because i didnt feel like they were in ny way trying to sensor any take of mine. They they complain about her. She was controlling. She was not always an easy person to get along with. Boys used to call her dictator doc. Time, they also nderstand she was ane nowhere mousely generous person. Every younger photographer who of talked d sort about her as if she walked on water. She was so giving and generous with help. , so you get a mixed feeling. Was struck by how what a remarkable kind of distance they had on it. Said the same kind of thing, a bitterness, at the same time, theres a lot of generosity. I an tell you personally didnt read that it happened. Thank linda for an extraordinary presentation. Invite all of you to purchase the book here if it somewhere g else, purchase it wherever you can. Ts an extraordinary read, extraordinary history, extraordinary biography. Lange, a life beyond limits by linda gordon. Thank you all for coming. Thank you. [ applause ] inspired poetry. Inspired the images that are of the g that poetry united states. Watch all of our events from olorado springs today at 2 00 eastern on American History tv on cspan 3. Monday night, anise chopra, Financial Officer under president oh what. One message in the book to take away, its the notion that innovative state is characterized by hand shakes and handoff. His speaks to your question as to who should do what. The hand shakes are what washingtons been doing lately. Get behind the curtain and not as well reported in the media, hich is shaking hands on some of the key principles of a state pening up data, encouraging collaboratives who work around standards, issuing challenges, and so forth. Opportunity at the to have a more open government starts with a bipartisan that ment to lay foundation. But whats critical and offvative is youre handing to the american people, entrepreneurs and innovators, private, state, local levels of government to take that raw data and build more interesting services. D monday night at 8 00 eastern on cspan unicators 2. 200 years ago during the war of 1812, british soldiers invaded washington, d. C. On august 24, 1814. And set fire to the white house and u. S. Capitol building. President James Madison and rs