discuss cuba in american history published by our friends. to introduce her to friends this evening were joined by doctor jorge the wanting. he's director of the cuban research institute and professor of anthropology at florida international university in miami parties published extensively on caribbean migration, ethnicity, race, nationalism and trans- nationalism. he is the author, co-author, editor, or coeditor of 22 books including cuba arts, culture and identity on the island. and puerto rico, but everyone needs to know. before i bring doctor to wanting to the stage let me remind you that throughout this evening's broadcast you are invited to ask questions by using the ask a question feature at the bottom of the screen. put in your questions as you listen and we hope you will order your copy of cuba, in american history on books and books below on the green button. will ship it right out to you or if you are in miami and want to come by one of our stores we have it thereto. we truly appreciate every order and the generous donations from viewers everywhere. and now, without further ado i like to welcome to the virtual stage. >> thank you christina good evening everyone welcome again to the virtual book presentation of cuba -- in american history by ada ferrer. as usual were decided to cosponsor its nights events by books and books we were proud to have the recent events by being scholars and authors on the series i would also like to acknowledge the support of her colic at the cuban heritage selection of the university of miami library. i'm thrilled to introduce two of my favorite cuban-american authors tonight is professor of history and caribbean studies at new york university, she migrated as a child to the united states and grew up which some cubans call in on. university of michigan, her masters in history at the university of texas austin and her bachelors degree in english. she has been a visiting professor in paris at the new york public library where she wrote a large part of the manuscript for the book we are presenting tonight. she is the author of three previous books, freedoms mirror, cuba and haiti in the age of the revolution. and translated into spanish and french which one the douglas book prize from the american historical association. as well as the haiti illumination prize in the haiti's studies association burner second book was insurgent cuba race, nation and revolution between 19681998. and one the book prize was also translated to spanish and french. and also she is the co-author published in 2004. she is the author of book chapters on cuba, history, slavery, freedom and revolution including professional journal to the american historical review and spanish american review. she also co- curated the very provocative exhibition titled visionary freedom which cosponsored the little haiti cultural center in miami back in 2008. our second speaker with associate professor at the university joined in the department of english and humanities. she's also a faculty affiliate of the cuban research institute any former director. born in los angeles from cuban exile parents she was raised in miami. before joining she taught creative writing in the netherlands. she's worked as a journalist in the united states and abroad including a winning colonists for the miami herald. she's lived in new delhi, the symbol in cairo where she was a fulbright scholar. submaster fine arts in creative writing and a ba in english from florida international university she's published four books including cuba recently started to write the blog without further ado. >> thank you. thank you christina and everybody at books in prose. thank you for being here virtually. it would be wonderful to be in person at books and books and hopefully one day we can. it's wonderful we have this opportunity to do it virtually. it is such an honor for me to sit here in conversation. i told you many times privately but i'll say it publicly, it is such a fabulous book on so many levels. i have learned so much from reading it. i cannot wait for everybody to buy it at books and books and read it. it goes so far in explaining so many questions i had and filling in so many holes. we'll talk about all of that. we only have a half an hour the bullets everybody else's questions. i'm going to try to contain my enthusiasm a little bit and have you talk about this beautiful book. >> sounds good. let me add my own thanks to books and books for hosting, and you for agreeing to this conversation. i'm really looking forward to it. >> let's just dive right in. i want to talk a little bit about the title. cuba -- in american history. why call it that? is there such thing of the history of cuba that the part of the u.s.? and if not why not? >> i struggled with the title initially. first i began imagining the book it was just cuban : history. but someone convinced me that i needed something a little more provocative. else suggested cuba -- in american history. when i first heard it i resisted it. i said to her at the time, the price for admission into the history of cuba could not be whatever episode or character or something to do with the u.s. there should be no u.s. price of admission to human history. i was also worried about turning over in his grave a little bit. as i kept working on the project i came to the conclusion he would really appreciate this title. one of the things i really like about it, as it is a little unsettling. you do not know what it means. that's kind of what i wanted to do with the book. i wanted to shift the ground a little bit underneath the reader. may be questioned what they take for granted. heartache a little less for granted. i think the title does that. that is one thing i like about it. the other thing of see the history of cuba is very, very entangled with the history of the united states. the title points to that in an obvious way. i also think that, i'm writing the book in english. his been published in the u.s. a majority of readers will be people who live in the u.s. so what i want to do, what i wanted to do with the title and with this book as a whole is to nudge them into seeing not just cuba differently the idea is if you look at the u.s. from the outside if you look at it from cuba which has the strange entangled with the u.s., the u.s. it's different than what many americans assume it looks like. this book is a history of cuba that also serves as a mirror into the united states that is the idea. >> i think it's part of the underlying theme of the book and a lot of ways. it also reclaims america for the americas. that's a good point of explaining in that introduction. which kind of brings me too my second question. repeatedly you'd write the history that we know. there is a shadow history a lot of us don't know. this was a pattern throughout the book sense the voices have not been heard there so many beautiful quotes i had to stop writing them down. early in the book is a history has lived in opposition far richer and more human than the mix. of course for many of us especially in miami, i want to talk particular it encapsulates the idea is the story what their names were i was not aware of it as a community largely free slaves who won their own freedom whole 100 years almost 100 years before it was abolished in cuba. can you talk a little bit about that story and also at the impulse or the need to tell the stories that had not been told? >> that story came to meet one day. as i'm writing the book for an american of course i grew up in new jersey every sunday we had our statute in our house. and in cuba. i'd never heard the story either. i encountered it in the work of other historians and other historians what attracted it's a way of putting the institution of slavery and the problem of race or the issue of race as it was to indigenous men and one young enslaved african. they statute was taking very soon after two and authority were as a mining settlement and free africans who'd earned and won their freedom. it was that community their labor and their devotion that really established it and allowed it to grow. again our slavery in terms of the stories that are silent we think about a history of cuba they tend not use them a lot. what i wanted to show throughout with revolution, migration et cetera ten through the figures of men, but history reverberates and figures in the lives of ordinary people in every level. i wanted to get at that. sometimes i don't know who those ordinary people are. certainly don't have a records escalates ordinary people all the time. so i talk about walking along the harbor and make his reaction part of the story. i found a diary of an american plantation written from an american plantation in the slave quarters the enslaved use glow worms i just mention the woman i don't know her name trying to do something at night. things like that. big history big diplomatic history 13 day crisis i go to the town where the missiles were first installed in their hidden in the back that think they look like large palm trees. again making sure people know this is their history two. >> beautiful. several time and the narrative you say deepens the story that's being told in the weight some of these grand could and never did. one of the real delights is the language that's beautifully written. and along the same lines it's also unusual for such a sweeping history of cuba or history of anything to contain personal stories. there feeling your ears your mother, your father you mentioned was a rounded up right before the pigs invasion why do that? what did you want to convey with that and why was that important? >> is deeply personal for me. as is doing the research special and got to the revolutionary. in the 1950s i was thinking this is the history that made my parents for this is the history that made me. this is the history of why i grew up way i did. it was always a part of it and part of the same idea of big history shaping lives in such profound ways. and so i feel the reason i want to write history that way with you, i and others was told the history of a top-down history of villains, heroes, gorillas all of that. but it's also the history of families and longing, loss, uncertainty as i was writing it, i just had the stories because i grew up with those stories. originally put them in brackets and i wasn't sure was going to leave the men. but then also towards the end it's part of the history i read about in my latin american course. the history of the cuban revolution i picked up through stories and family lore and my own experience of traveling the island and so on. i always felt the disconnect between my parents experience of the cuban revolution and what i read in history books. i kept wondering and thinking about how i could write a history of cuba that made room for my mother, my mother was kind of the informal historian who always told stories i wanted to write a had heard there in brackets and said there is room for her in the history. he mentioned villains there is the villain what was it like writing about that revolution because so much of your earlier work is concentrated on moments in the cuban history. i like to picture you there at your desk in the 1950s approach. what was that like? >> on some level it was terrifying. i used to joke my first revolution my second was about the haitian revolution. i sometimes wondered if i had done all of that over 25 years to finally help prepare myself to write about the cuban revolution. i felt like it's what i always wanted to do but i never felt like i could. all of that work prepared me it made me a historian. so the one thing, i thought that if i could get to the revolution and built a voice that the reader could trust, a voice that was human that is not about hitting you over the head, something like that, that would help. also to bring the tools i had a as a historian. : : : especially fidel castro. moments when i also try to humanize them. he is a human being. a rally on july 26. july 26, 1959. he resigned and then he came back. i remember watching the video of it. just watching his face. he is not resigning and he is coming back as prime minister. the crowd goes crazy. they start clapping and you look at fidel castro's face and you can see the wonder in his eyes. i can do anything. just seeing those moments that we already tend to put in boxes, we have seen them through fresh eyes as part of a, you know, cinematic. it is like trying to get to that position where you can see things fresh and new. >> i would definitely use that word novelistic. it is a page turner for sure. it is so beautifully written. even the big, you know, that we think we know. part of the success of it is novelistic. always trying to find what caused this. stories in the series of cause and effect. it leads to another and another. that tends to be very novelistic you know how much, so much of your earlier work focused on that and the issue of race in cuba. how did that inform the stories that you are able to sell and give context to. >> i just want to say one more thing about the novelistic thing they were novelist there. writing these novels about families and political change. he once said to me, every novelist is a historian. i said really? i thought every historian was a closet novelist. >> exactly. in terms of race, it has been the center, it has been at the center of a lot of my work. i wanted to make sure that even though it is the broad history of cuba, that i did not focus on race. that we could understand cuban history and build on the institution of slavery and build on that complex system of racial hierarchy. i think in some ways, you know, compared to many large history cuba, i think, for example, my treatment of the war of independence, i think much more than typical. especially one written in cuba would have. there is such a constant, i mean , there is change over time. there are these recurring themes . the whole idea of being dangerous to focus on race is being divided to focus on race. i saw in the independent movement and the early republic. i was sitting at the library at the university of miami in 1940. it was the exact same words. we cannot talk about it. you see it at the beginning of the revolution. focusing on that is divisive. it is a recurring. we cannot talk about it at all now. >> right. we see this stuff again. we see it as a routine. >> yeah. yeah. this is kind of a departure from you as well. it is very scholarly. it is meant more for a general audience and academic bodies. you have been working on this for 30 years. you have been mining it. tell me the difference in this book they had some of the other very focused, very sort of time constraints. >> the main difference is that for all of my other books i spent years and years and years. my second book took 14 years to publish, 15, actually. different countries, different languages, earlier periods et cetera et cetera. with those books, you know, i would go away for a year and do a lot of research. you start teaching administrative work and you have to wait to go do more research and it takes longer and longer. in this case, i am covering more than 500 years. it is impossible. it took me years to do archival research on a 30 year period. so, basically what i did was, i relied a lot on research that i had done before. so, i took out my old notes. i had done research on things i'd never wrote about. those notes and that research came in handy for this. i just tried to be, i knew i had to write it more quickly than the other books. i was a little bit more strategic. in addition to my older archival work, i did more truth, where the things that were acceptable and i knew i could limit my research and also i relied on resources, on secondary works more than i had in my earlier work. it was kind of a break in that piece, especially the year i was in the library. i knew i would finish drafting the revolution part. getting all these books and taking notes. i would kind of give myself two weeks to read on something. and then two weeks to write. for some things i could do it and some i could not. it was a question of kind of stamina and never stopping. but it was so much fun. it was just incredible. i had a lot of fun doing it. in terms of the writing, i write sort of extensively. this gave me a little bit more freedom to do a little bit more. things like that. >> how long did it take you from start to finish? >> i started, i guess, basically , i started working on it really, i had written a tiny bit before to try it out. see you -- i started working it the summer of 2016. i am interested as a writer, also, because, you know, we all have envy. i am teaching a class on envy. we have this theory that leaders hate envy. >> writes. >> how did you arrive without giving anything away, necessarily. how did you arrive at a place since cuba is such an evolving story. >> history does not stop. the president keeps happening. when i first propose to write the book and got the contract, it was when there was obama's trip to cuba. that policy would continue. initially, i thought that the ending would be that. the opening. from the arrival of columbus to the arrival of obama. quickly, the president destroyed that plan and then i was like, oh, not to say too much, but i really did not want to end it with donald trump. i just did not. full disclosure. but then, you know, i thought, i will end it with the election of biden. the suggestion that maybe he would continue some of obama's policies. that is what i submitted. then i realized it was not going to happen. so, basically, i ended saying that ultimately, the book is about the cuban people. what the cuban government does, obviously, and what the u.s. government does, it affects how they live or how they don't live. and, so, the question is, you know, will government give them the space to live the lives that they deserve? you can in the book with that at almost any moment, at any point. i like monuments speak and it is about historical monuments and how life keeps unfolding under the shadows of the history. >> yes. yes. >> there is still so much more to talk about. so many questions. this is a good place to end it, i think. i know that people probably have a ton of questions. let me give the audience a chance to ask questions. >> thank you for the great conversation. i know you have so much more to say. anna raised a lot of questions that i have. i do want to maybe, before we go into the audience, i think we have quite a few, and we will get there in a minute, talk more about your sources of information. it could be interesting for the audience. >> yeah. because i've been working on cuban history for so long and because i particularly love doing original archive very work, there is some of that in the book. basically, i relied more on things like newspapers, memoirs, diaries, published letters, you know, u.s. government documents, you know. one thing that i learned writing this book is i am sorry if i offend anyone, but it is much easier to be a historian of the u.s. so much material online. i took advantage of that and worked a lot with u.s. government sources before the 19th century through the present and then, of course, there is a rich on the cuban revolution. new work being done on people. you know, people relying on their secondary as well. >> a lot of the classified documents. especially after the 1960s. >> yes. there is just so much out there. the state department archives. the digital national security archives. you know, i am going to use them more in teaching now. i learned a lot more about working with them. that is good. the other question i wanted to ask you about, and out already raised it, inserting yourself with the text, which is not common i guess for historians and in my own field not in the traditional literature. when and how you decided to tell your stories and talk about your mother and so on you mentioned this thing, but what made you think it was appropriate in the first place to tell your mother's story in your story? >> because i felt like it is my history, you know, i am and my mother are and we all are part of that history. as someone who tries to write history in a way that includes more voices and more people that are not great speakers, i have these stories that are about people like that that i have grown up with so i decided to include them for that reason. i just feel like, i feel like the book is some kind of culmination. i came to cuba for a very personal reason. i spent 30 years writing these books that are, you know, still history from below, but i really did not insert myself and them. they are more traditional in that way. i just felt like it was time to bring them together. that story is why he ended up doing history in the first place. a history for my mother. >> i think about that. i have thought about that so much. i would say over the last, pretty much since i started writing this book. i was also thinking of our friends who have written about the question of how much do we insert ourselves and the need to be films. >> yeah. >> let's go to some of the questions that we have from the audience. here is one from, let's see, i am trying to look at the first one from john who noted 219th century streams of cuba. [speaking in native tongue] so, kind of a question. where does the opinion fall do you think? versus the annexation? >> well, i would like to think they are not annexation. so, sometimes when you hear calls for invasion, you wonder. but, so, i would say they are probably somewhere in between. i cannot imagine that categorical. i love the idea of cuban-americans reading this history. i do not know that they know all of this history. it adds context to things. i think if you read the history, you realize calling for that. >> i would add to that, maybe. you do cover the history of the cuban community and how that community was actually very strongly divided in new york and perhaps the co-independence tobacco workers. >> even in the 19th century, the cuban-american community, and now as well, more diverse than we may assume. >> fernandez wants to know if there are issues or stories that you wish you hadn't polluted or that you had to leave out and now regret it? >> i think it is too soon to know whether i regret it. [laughter] i had to leave so much out. i always keep a notebook while i am writing a book. my cuba haiti book i had like 10 notebooks. there like these little red notebooks were just right ideas and thoughts. at one point i had a few pages for things i was leaving out i was worried i was leaving out. it got to be so many that i just stopped. i guess one that may be i leaving out is i never wrote about the tobacco factory. and i kept thinking, oh, i have not included them yet. and then somehow i just forgot. i just feel like they are such an icon of cuban history that i regret not including them. there are probably others, too, but that is the one that came to mind right now. >> struck by the design of the book cover which reminds him of some of the late 19th century books about cuba written in the u.s. especially after the spanish-american war. is he reading too much into it or was it a conscious decision? >> it was not conscious on my part. the press had a designer and i'd some questions about it. i thought that it was too ornate it is a trade publication. i think that their assumption is that they know what they are doing better than i did. they really, really liked the cover. i had doubts about it, but once i saw it on the actual book, i do really like it. they gave me two choices of images. very similar. a shot of havana and the harbor. i like this one because you can see people. and the other one, you could not see people. going back to that scene, that was one thing. >> we prepared a flyer for this event. did not really stick with that. we had to ask for another one. fine for our purposes, but still the same ids. do you have plans of translating the book into spanish? >> i do not have plans right now. i am hoping that that will happen. there will be translations forthcoming, but not yet. >> okay. let me go to some of the early questions that we had here. have you read tj english have anna -- >> i did read that. i have a chapter that included the discussion of the role of the mafia, or the mob in havana. so, you know, it is a fascinating story of how the u.s. mob came involved in havana the prohibition. it was illegal to sell alcohol here in the u.s. they also tell hotels and casinos and so on. the history of cuba after the 1930s. the people in the book are the members of the mob. cuban society, i am blanking on is name. against other politicians. a vibrant anticorruption that was so important. the part that only focuses on the mob focuses on the culture of parts of which were corrupt, but it was also important elements. >> very interesting. my brothers speaker. between that article in this product. >> i published an essay in the new yorker in march of this year. it was a memoir like essay about my family's relationships to the cuban revolution about my mother , the fact that she left my half-brother in cuba. i situate that personal story and talk about the repercussions for my mother, for my brother and for me. it is a sad story. i never intended to write that story. i wrote it after i lost both my mother and my brother of august of last year. i just kind of came back to new york after that and the frank, i could not get out of bed. i was really depressed and shaken. one day i just got up and started writing. that came with the new yorker essay. i did not imagine it. i guess that the connections to the book is that it had that element, that combined personal story with history and that focuses exactly on the way that history reverberates to people's lives. that is the connection. it is not like i wrote the essay because it was a part of the book or anything like that. they were conceived of a separate thing. they do share that sensibility of combining personal with historical. >> another question. want to know if you use chronologies when you are writing? >> yes. i love chronologies. i feel like, you know, if something happens, like, things that happen matter. when it happens, the order that it happens in, it shapes what a particular event means. i took a lot of notes. i took them completely chronological. i would note them in my document chronologically because it would give me the sense of where things fit and what this person already knew when this happened and so on. i am a big believer in chronology. gregory mccormick want to know if anything surprised you in the research of writing the book. >> so much. so much. the one that surprised me the most, you know, i will give it away, but whatever, i will give it away. chapter nine, in 1853, the vice president was sworn into office as vice president of the united states on the cuban sugar plantation. i read that and as i was doing research for the chapter. i had to read it like three times or four times. i have to look for collaboration elsewhere because i just could not believe it. i used that story, that chapter, and i thought that it was just perfect. an alabama slave owner and plantar. he was sworn into office on a sugar plantation in the middle of harvest season. it was the perfect illustration of how connected the cuban and u.s. systems of slavery were. how connected those economies were. also the fact that these were at the height of filibuster. it would perfectly illustrate that. the president taking his oath of office in cuba is a way of marking territory. marking the fact that cuba would soon become u.s. territory. on one hand it is an antidote. it is such a perfect illustration of the major things in the book. i would say that that story surprised me more than almost anything. there were many others. >> vicki wants you to comment on the relationship between your project and the book on becoming cuban. i would actually expand the two, the other major books on human history. one that i've used until now. the difference between this one and that one. how do you compare your work. you know, the standards in the field. >> i love his work. he has a close colleague and, you know, he was one of my mentors when i was starting out. he published one of my first-ever articles on cuba. i was editing cuba studies. i think the world of him and his work. he is actually one of the people who always one of the living historians that is most thought about. the relationship between cuba and the u.s. culturally, economically, et cetera. i would say that the difference of my book is that, that is the one i have used as well up until now. it reads much more like traditional history. that is good, but i wanted something, again, going back to anna's question, more cuban or history from below and less technical. that was published in a series of textbooks. finally, with the other one, it is about culture relations. some of the things that he talked about came up and mine. i do not think that the cultural connections are the main category. >> i see a few questions relating to you. i will try to group them. dean rosenberg wants to know the history of cuba. i think that you have a dress that. it is also intriguing. then i want to scroll down from si you as well who wants to know, specifically if you see any episodes in cuba in american gives you hope between cuba and the u.s. i think that there is a third comment or question. i do not see the last name. where does the u.s. go from here, relations with cuba? >> so, where does the u.s. go from here? i think that this history, one thing that this history shows is that the u.s., it is hard for the u.s. to talk about cuba in terms of liberation. it is hard for cuba to represent itself as supporting liberation because of a history in which we try to limit the liberation of cuba. the u.s. did not want cuba to become independent. that is all over the record. they did not want that. they came after and took over and occupied it militarily. so when cuba talks about, sorry, when the u.s. talks about liberation, there is all of this history that makes it a really easy kind of language and discourse. i would say avoid that kind of language. i am not a politician so i don't have control over that. if there is any hope over that the u.s. has to act bilaterally. they have to work with allies to come to a reasonable policy about cuba. acting alone has never gotten them anywhere. it causes many latin americans to rally even more, or to the governor of cuba even more. i would say that the answer lies in that. make those connections first and then figure out what can be done in a reasonable way. >> a question from rosemary. the history created. >> you know, there is all kinds of revisionist history. revisionist history published in cuba. published in the u.s. published in miami. there are, i think that my account challenges above all the cuban government's version of a historical version of its own revolution. you think about it as it unfolds. people tend to think of the cuban revolution and they think about it one. from 1959 to the present. i try to think, well, how did it come to power, how did it change, how did it become what it became? the cuban revolution in the beginning was not fidel castro's revolution. many many elements, middle-class , young catholics, all of them participate in the revolution. it became communist as a result of a dynamic that has to do many many things. his relationship to the cuban people. it had to do with mainstream political demands before 1959. enacting the reform, by and large supported. 1959, which was a very class, middle-of-the-road complication. 92% of the public thought the new government was doing everything perfectly well. we have to understand this and we have to grapple with that. we have to understand how it changed. we have to stop thinking of things as inevitable. i guess that i would challenge it because the way my history challenges it is by his stores sizing it. not a question of something that has to be defended. if you are speaking from the podium in havana. i am a historian. i am trying to understand how it changed what it became. it challenges the history from miami to washington. >> i think that i will raise one more question and that we have to close in a couple of minutes. here is the question, if i can just find it. i lost it. i am sorry. it is about the issue of, yes, here we go. from eric peterson. what part of your book distinguishes itself from writing for the sake of writing? >> what particular part of it? >> yes. >> sorry, distinguishing from the western part of writing for writing pursuits? >> yes. >> on one level, none of it. another level, maybe all of it. i do think that understanding that history, it may ideally help people for more considered opinions and possibly more considered rational policies. maybe that is still also part of that. also, yeah, i would just leave it at that. >> going back to the original conversation. including ordinary lives in ordinary people sometimes without even knowing their names i think that has a set of challenges. >> someone said what surprised you. a lot of people know this story at the university. you know the university, the staircase, meeting you at the top and there is a statue up above of the, you know, of the seated woman. you know, discovering the model, the model for the face was a young white woman, the daughter of a university of havana professor. she was beautiful and angelic. the body that they used, a different model. a woman of color. older. we know the name of the model for the face, but we do not know the name of the model for the body. i think, you know, everyone should know that story. it says so much about how history is remembered or was forgotten and what we take for granted. >> wonderful. i think that we will have to end here. thank you for your wonderful conversation with anna. thank you, everyone, for your questions. you can order a copy of the book by clicking on the buttons at the bottom of the screen. thank you again for participating in this presentation. that concludes tonight's event. good evening. >> thank you. >> thank you. every saturday documenting america story and on sunday, book tv brings you the latest in nonfiction books and authors. funding for c-span2 comes from this television company and more including wow. >> the world has changed. today the fast reliable internet connection is something no one can live without. we are there with speed, reliability and choice. now more than ever it all starts with great internet. >> wow. along with these television company support c-span2 is a public service. here is a look at some of the best-selling nonfiction books according to raleigh, north carolina. topping the list is former scott gottlieb what we can learn from the covid-19 pandemic in an uncontrolled spread. the washington post bob woodward and robert kostas report on the transition between the trump and biden administration. cnn anderson cooper and historian of mr. cooper's mother's family. once one of the wealthiest families in the country. next is empire fame. patrick report on the family's wealth he had built by the selling of oxycontin, value and other pharmaceuticals. wrapping up our look at some of the best-selling nonfiction books is the illustrated fable the boy, the mole, the fox and the horse. some of these authors have. on book tv and you can watch their programs anytime on booktv.org. >> you are watching book tv. for complete television schedule visit booktv.org. you can also follow along behind scenes on social media on book tv on twitter instagram and facebook. >> over the years on book tv, we have talked with an author about economics and

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