It on booktv. Org. To mark the start of the christmas season, the fifth book is the elf on the shelf, a christmas tradition put together by a mother and daughter duo. Fixed on the bestseller lists is the bully pulpit written by historian doris kearns goodwin, focusing on the relationship between roosevelt and taft. Booktv covered an event you can watch online. Number seven is human miracles and the author provides advice for spiritual healing and empowerment. And the Guinness World records 2014, it is number eight. The latest book from malcolm gladwell. You can see the book at booktv. Org. Finally, at number 10, sarah palin, good times and great joy, which highlights the importance of great values during the Holiday Season and these are some of the bestselling nonfiction books according to the wall street journal. Peter arnett and Julie Jacobson talk about the Associated Press and the photographic history of the vietnam war and the state of war photography today. The book vietnam, the real war, includes 300 photographs by photographers. Hello, thank you for coming on tonight. I was a child during the vietnam war and living in turkey when my dad was reporting for the armed forces radio. He remembers the war much more vividly than i do. But for both my fathers generation and for my generation, the water is preserved for our reflection and study and it is captured by some of the most impressive journalists on the planet for the Associated Press. Over the period of the vietnam war, the ap 16 Pulitzer Prizes for photography and some of the greatest names are the ap bureau, malcolm brown, peter arnett, eddie adams and george esper and Julie Jacobson just to name a few. Now at almost the 50th anniversary of the war, the ap has put together the images to tell the story of the conflict in vietnam that broke vietnam as a real war, a photographic history which is a collection of 300 of these images in the book vietnam the real war a photographic history by the Associated Press. We are thrilled to have some of the correspondents joining us tonight, as well as a few photographers that have covered modernday wars to talk about these images from vietnam. They our correspondent peter arnett, who covered the vietnam war for 13 years and Julie Jacobson, who has worked as a photographer for the Associated Press since 2001 and has covered everything from the olympics to wars, including a rock and afghanistan. Also, santiago lyon. [applause] director of photography for the Associated Press responsible for the ap global photo reporting and the hundreds of photographers and editors worldwide who produced it. If you take pictures, you want to suck up that i. [laughter] and finally, Huynh Nick Cong ut, who was born in vietnam. Joined hp in saigon at the age of 14 years old after his brother, who is also an accomplished photographer was killed covering the war. He is best known for the iconic photo that he took of a man running naked and burned from a misdirected their way. Many of the photos in tonights book taken by him. Its an impressive panel of journalists whose experiences total decades and are collected in some small part in this wonderful book. Please tell me to give a warm welcome to the photographers of the Associated Press. [applause] okay, we are going to run through some pictures here and have a little conversation appear as well so everyone can see. [applause] [inaudible conversations] [pictures being shown] you cannot see the dates there. [inaudible conversations] [pictures being shown] [pictures being shown] [pictures being shown] [inaudible conversations] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] [pictures being shown] to look to wound. [laughter] wound. [laughter] up with with with with with to wound. [laughter] up up up up up up up up up up up up up up and he as you can tell, this is what we are gathered here to talk about this evening, i thought it might be useful to put this work into a little bit of context those that say it is a notforprofit organization founded in 1846 as a way for newspapers to share the costs and the logistics of coverage of that conflict. The ap sends 1846 halves cover just about every conflict known to man. So we have a very intimate and intimate relationship to army conflict around the world. The cooperative is owned by about 1500 u. S. Newspapers and they pool their resources together through the fees that they have for the access to the content and the sharing of their own content to provide important and detailed images and just about every country that you could name. A never ending stream of photographs and they are an institution in journalism. The coverage in vietnam was extraordinary because of the commitment that the ap made to covering that story and the dedication of the journalists who were assigned to vietnam and many stayed there for years and years and journalists are typically assigned tours of anywhere from six weeks to two months and the journalists who covered the vietnam war for the ap would stay for many years and as a result, they named a very intimate knowledge of what was going on in the country and who the players were and how to access things and this was coupled with an extraordinary dynamic that existed that facilitated the access to journalists in a way that has probably been seen in warfare and may not be seen again which is not to say they could show up at the military bases and essentially if the pilot of that helicopter award airplane was willing and most of the time that they were, they could jump on a helicopter and go there and photograph it and jump on another helicopter and come back and drop the film often send some pictures and about the very next day if they felt up to it if they felt like sit and that level of access is very different from the level of access that you have today, possibly because the flow of information around the world is so much faster and so much more voluminous now than it was then that the protagonist of many stories nowadays seek to control that information in a much more direct and demanding way, whereas in the vietnam era, it was quite a different dynamic than applied. So i thought that i would start a brief conversation here with my fellow panelists before opening this up to questions. Tina informed us that the questions here tend to be good and robust and frequent and animated and thoughtful and precise and so that is what we are counting on when we stop talking here. And i thought that i would kick it off by asking the panelists if they had a particular photograph in the book, one of the ones that we have just seen projected, perhaps not, but they would like to talk to you either because it meant something to them personally or it worked for them on some level and i thought that i would start off with the dean of the panel, mr. Arnett. Thank you very much, and its my pleasure to be here and my daughter lives in berkeley and i am a visitor to this area and im going to be back in the bookstore again and next week as well. Having said that, i was one of those who spent a lot of time who went there at age 26 and in 1962 i stayed for nine years, i got married there, i got two children bear and there and i kept going back until the fall of saigon and stayed with two other colleagues until the communists took over. And you might say that that sounds crazy. The one id wanted to be a journalist, it was not uncommon for american correspondents to be in bureaus away from home for about three years, based in tokyo or maybe based in congo or afghanistan and we have traveled around since the 1950s. So this is a time that you have to think of, sort of a period of time and the pictures that were taken were simple film processed and sent by what we call radio photo and sometimes analogous in a little six by four picture and you just dont have the kind of facilities that are available to everyone, photographers like julie today. But there was another effect in place in vietnam and that in the u. S. Tradition of more coverage, the military and the u. S. Government had a lot of influence in what appeared to be in magazines and on radio and on vietnam television. So as the experience began, the u. S. Government from president kennedy in particular and president john johnson made it their job to lobby to lobby with television and directives to shape the image coming out of vietnam and because of the nature there was never a declared war and there was a limited Engagement Beginning with advisors and then american troops and smaller groups finally becoming a large army of half a million. And this was never a conflict in which the u. S. Government felt that it could impose the kind of censorship that was common in world war ii and korea and in that censorship, the journalists would be obligated to run photographs and written material and also publishers at home would be expected to take a patriotic look at what was going on or in overseas commitment. So when i go in 1962, i was joined by a group of american journalists who were very unique at that time. All of them graduates from Ivy League Universities and probably the first to actually enter the cross of news reporting and they took it as a much more pragmatic approach as to what was going on in vietnam, and it covered the civil Rights Development and the development in the american south, and some others have been in africa as well. And we all had military training and so as the conflict began, we had journalists who know a lot about the world and the military and had taken a very healthy, you know, view of the role of the journalists that has been challenging to government or challenging to authorities that fits under the traditional role as Challenging Authority to see what is really going on. And it was then and that environment in which the pictures and the news started coming out in vietnam and we discovered this, that the vietnamese that we met were very candid about what they were facing and many of them were our age were very candid about this as well about what they felt and what they saw and therefore we felt that we were getting a clear picture of what was emerging as the conflict grew in size. Our vision differed markedly from the Kennedy Administration was hoping for and definitely from the Johnson Administration as well, president kennedy late in 1972 found the editor of the New York Times and found that he help us go back to the United States because his reporting was dangerous to national security. And president Lyndon Johnson on two other occasions approached the ap executives to have me removed from the war area and there was lots of other influence, particularly on Television Owners and important owners of the networks. And it was in this environment than that the written and photographic product emerged from vietnam and it was a matter of controversy from the beginning and we saw a picture earlier of Malcolm Browns photographs of a buddhist monk, the first monk committing suicide by fire in 1963 and that was a picture that helped shape president kennedys view that supported and wasnt doing an adequate job and Henry Cabot Lodge later told me that he was that he had gone to the oval office to give his last instructions before being appointed and they were open and there was a picture of the burning monk on the front page and kennedy said that you better go over and change this. And we cant let this happen again. But interestingly enough, the New York Times did not publish the photographs of them. So meaning that the editors of the United States, they were conscience of the nature of the images and about the controversy, which brings me to my favorite pictures, and i dont think favorite is the correct word. Because i dont think any of the pictures from vietnam are looked at in a way that we admire them exactly. But my emotions are, you know, far more deeper and sad. It was the set of photographs that were taken by the great ap photographer of german nationality, began in 1963 through 1964 and he spent a lot of time with the south vietnamese troops in the mekong delta and in the deep jungle to the west and off of vietnam and he would go there with american advisors and he was coming back with pictures of enormous brutality committed against ordinary vietnamese farmers and villagers. And these military operations were dictated by the government and is being necessary to rout out the viacom, they seemed to be plotting against the government. In fact what was happening was whole villages were being laid waste and there was one picture in particular that is in the book that shows a Farmer Holding the body of a child and a napalm fired strip was hanging loose from the body and the farmer was holding the child up to a personnel carrier with 10 to 15 south vietnamese soldiers that were disinterestedly looking at them and he was pleading with them and i dont know what he was saying. The soldiers moved on. He stayed around and he got other photographs of the terrible agony inflicted upon the local people. And that remains with me as very important because it illustrated the punishment that local people were taking in the war and secondly that the indifference of our allies in the war at that point, against the population in what was seen as a civil war and what they were talking about was a peoples war, as we should have known from the french experience, that it was the role of the civilians supporting the communists and the hierarchy in government that won the war against the french. So those pictures that they had taken, which got him the Pulitzer Prize remain in my memory and another point about those pictures he developed the film and the president of the Associated Press was visiting, which he flew all the way from new york and he said, these are staggering and shopping. And i know in his heart of hearts, having been a reporter in being subject to censorship, he had some in the session about the pictures and the authority to say that okay, guys, lets hold these for a wild and do we really have to put them out there. But what he did say is look, we are going to use those pictures. But i want you to write a story pointing out that the viacom is also committing atrocities and at least try to balance it out. So i did that. And there was no way to balance the power of those pictures and thank you. Thank you, peter. Around the proverbial block, a few times you have been come around iraq and afghanistan, when you look at the pictures in this book, are there any of them that particularly jump out to you or anything that you care to share with us about the work in the book . One is a color photo in the book and it is of a squad waiting for an evacuation helicopter to land and pick up the wounded. When i was in the a rock and a little bit and afghanistan, i have spent quite a bit of time on the evacuation helicopters. When i look at the photograph despite the different environments and we had this, nothing has changed. Our member being in helicopters and looking down and circling before we landed and there was a guy looking up at us just like that and like we were dropping from the sky to pick up their buddies. And it brought back a lot of memories and im not sure what year that that was shot. 1968, you can do the math. And it doesnt matter that we are 4050 years later and still the same scenario with emotions running through and the other photo that jumped out at me was, i believe it was up here. It was of civilians in a ditch and that struck me because i was embedded with u. S. Troops, but i was always very curious about how a war could affect the people were was being fought and i am always curious about the civilians that were noncombatants and that something about that photograph when i first saw that made me realize that there was something lacking in the pictures i made uninhabited access to a lot of the populations because of cultural differences. And a lot of the women and children are always behind walls and you never see them and you never see their eyes or their emotions or their expressions or anything and then i remember being frustrated about that. In afghanistan especially. Rob, we had a little bit more access. So those two images jump out with what i just described. And i always wish that i had a chance to somehow get in behind those walls while the battles were being fought and sort of to bring home this together and bring home peoples thoughts and feelings as these things are happening and we are all the same. You look at the people in the images anything that i could be anybody. That could be in a rocky or in afghanistan or an american that we brought home here. Thank you, julie. One of the pictures it is arguably one of the most iconic to come out of the vietnam war is a photograph of a young girl running down the highway and covered in napalm screaming as a result of the pain that she was in. Youre all familiar with the picture and nick took that picture and i thought it might be interesting if he shared with us what happened that day and what it was like to make that picture and events afterwards. Then black smoke end and then the little boy called him. When i took a picture i said what happened . In he took a picture. I had water. And then i bought the raincoat and i carried him. All the time yelling i am dying. I am dying. But then i showed my immediate past. [laughter] but my job by nevada dr. I want to help before i go to the office. Too many people love the doctor or lawyer lawyer. So that then drive away. So when nicole would come in with these pictures then to draw attention to the nakedness but considering the aspects he was in charge of the of fatah production to say no. But in the end that it be that picture and others from the series and there was a debate and it was widely published. Voter shocked to some degree but widely published. But then i said we have a daughter now. The wonderful part of the story is h