radio host and contributor charles sykes discusses his book how the right lost his mind. is interviewed by tammy bruce, fox news contributor and host of the tammy bruce show. >> donald trump represented something, certainly a big middle finger to the establishment, if you really wanted to deal with these issues, would have gone with marco rubio or scott walker and they didn't. he is a master of twitter but he was crude, rude, serial liar, thin-skinned, erratic, a fraud. this was relatively well known and conservative, character mattered the president was a role model, found a way to rationalize behavior of

somebody who insults women, marks the disabled, marks pows, just wanted to get an education. >> watch afterwards sunday night at 9:00 eastern on c-span2's booktv. >> south dakota, along the banks of the missouri river, chosen as south dakota's capital city in 1889. reflecting the american frontier is home to cowboys and cattle, the backdrop for iconic american writer laura ingle's little house on the prairie series. with help of our cable partners for the next hour we feature the literary community beginning with nancy koppel on the important role south dakota plays in american history. >> we are in the research and publishing office of the daily

historical society and also the headquarters of the south dakota historical society press. back in the day in 1997, i felt it was a niche we could fill in south dakota. nobody was doing our history seriously. i shouldn't say nobody, that is not fair. there was a concerted effort to do publishing for the state of south dakota, to do it right, you have to have some experience and we garnered that experience through doing the journal which is essentially 100 page book. every three month.

we had the expertise to start doing something more sophisticated. doing books about states seemed like something we were letting people do, other presses in the region. as i said, if you let other people write your history, may not be what you want or expect. let's take that back and do it well with all the standards of a new york publishing company, all the standards of university press, that is what we set out to do. you measure success in different ways. some of our books are not financially successful at all, but go to fulfill our mission. they are things we have to do and i will give you a good

example. we did a book called principle over party and it is a book about the south dakota populist movement which was the first populist movement in the country, the first people's party, and it is irrelevant in the big picture but there had never been a study of the south dakota populist movement. at that was an important piece of history that had never been done. i talked and author, we really need to do this but that book went out there and went into a black hole, politics doesn't sell, we haven't found a way to

sell it. we do a lot of politics. it is very finite, a small group and i don't know if it is because the reach doesn't get beyond the states because as i explained about the book on populism, that was a national movement started in this region, a national movement, amazing national politicians from tom daschle to george mcgovern, francis case and interesting politics. to answer your question i don't know why it doesn't sell and we don't know how to touch up the right market for it. it is part of our mission.

it is irrelevant because we continue to look at it. i suspect what is going to sell and some things are coming up, biographies of politicians, people like biography and they like political biography, literary biography, anything with that human center and we have this little biography series here which we designed to be inexpensive. a paperback series designed for people to buy off the newsstand that want to find out more. that one does beautifully well. it is an exciting little series because in the beginning i told people here is the deal, you read a biography of great men or great women and half the

time they go like this and came to south dakota and that is it, that is all you get. i don't want that. they came here to die but he is a big piece of our history in terms of our legend, just hours since of the black hills and what it is all about. how does that happen, how to place wild bill and his place in south dakota but reach beyond that because he goes beyond that and that is the story of the biography series, they all go beyond that and it is exciting, each one of them was not definitive because they are not big enough to be a definitive history of wild bill

or anybody but they break new ground and that made them exciting in and of themselves. i always like stories that are bigger, they play south dakota, central to the concept or what is going on, just a piece of the bigger national story. that is something they don't think about in massachusetts but we have to think all the time how we become relevant, and who doesn't understand us and doesn't include us. the great plains states like north dakota and south dakota explain their relevance to the rest of the country and that is because of a lot of things that indicate that.

the most egregious example to me is a few years back, rand mcnally did a series of maps, they left a hole where the dakotas and alaska and north dakota were. things like that make you think we don't matter, you look at the electoral college mode and national news during an election, a minor miracle, a slow news day is what it is and things like that make you think the big plan, the story of the us originates here, the

question is to understand that really isn't our job as a press to create bestsellers. we did that with pioneer girl and that was an amazing experience in more ways than one. our job is to tell the history, accurate stories to preserve the history of the region. >> there are an estimated 5 head of cattle per resident in south dakota. in controlled recklessness nathan sanderson explores the life of the cowboy businessman who was a key player in developing the south dakota cattle industry. >> we are here in the capital of south dakota. the capital building behind us

adjacent to one of the highlights of south dakota. the state of south dakota developed in two ways, started as dakota territory in 1861 it in 1889 south dakota and north dakota became states. by the time of statehood south dakota had been settled for a number of years, farmers came from minnesota, iowa and other places. the western half of south dakota was a great sue indian reservation. it really lagged behind east in every respect so the wrenching culture came later than the farming culture of eastern south dakota and was essential to the way south dakota developed as a state. controlled recklessness is the story of ed lemmon and it element of western south dakota and it is a foundational figure, he was a cowboy. a cattleman, 850,000 acre ranch in the early 1900s, involved in

the expansion of the railroad at the same time in the 1900s and one of the figures that was essential to the growth and development of western south dakota. people think of south dakota as a corn and beans farming state. it was more than that, 800,000 people in the state right now, 4 million head of cattle for every single man, woman and child in the state. involved in the expansion of that cattle ranching industry in western south dakota which was essential along with mining and expansion of the railroad and growth of our state in the 20th century. ed lemmon came to western south dakota in the glory days of cattle ranching, not much to speak of for law enforcement so they made their own way. he came with the shively cattle

company in the 1880s making their name by ranching with quote is adjacent to the pine ridge indian reservation and had their ranch headquarters adjacent to the reservation, they were trespassers and made their living raising cattle driven from texas and other areas, not on the chisholm trail or other trailers but the railroad which brought in thousands of head of cattle where they were raised in western south dakota. ed lemmon was part of that. in 1897, one of the largest cattle roundups ever, 50,000 head of cattle and a handful of days, 500 roundup wagons, tremendously huge operation and that was typical of western south dakota in the late 1890s and early 1900s. cattle operators, hundreds of thousands being rounded up at the same time and driven to rail head for marketing in

chicago. one of the things they did is illegally grazed their cattle on the pine ridge indian reservation. cattleman and indians often had a good relationship than a contentious relationship and add lemmon personified that. when he raised his cattle on the reservation by any indians interested in sharing a meal with this cowboy or sharing the campfire with them, when he had cattle not fit for market he would provide those for free to the indians and as a result they turned the other way when grazing on the reservation. a close connection he had that manifested itself decades later when he had 8 sensors -- 860,000 acre ranch on the standing rock indian reservation.

one thing indians called him -- yellow apple. why would you call him yellow apple? lemon, like fruit, no name for the word lemmon but they didn't know what an apple was it had a word for the name yellow and it became -- that is what they call it lemon because of this relationship he had with them. he was a known quantity, who helped them as much as they helped themselves. it lemon was involved in the open range cattle industry and was involved with the sun setting of the open range industry, one of the guys who helped establish the way of ranching with his 865 acre lease. it all had a single boundary fence around it, a massive 210

mile barbed wire fence around the perimeter's, no interior fence. he took the techniques in the open ranch cattle industry and transferred them but in western south dakota where it has been carved up into smaller ranch of the 10,000 acre ranch is not uncommon, every cow that ends on dinner plate is beef starts out as a calf grazing someplace like western south dakota. we might go the cattle industry growing and you fall thing, texas longhorns driven up on cattle trails to the beef that shows up in supermarkets, the origin of calves born on the range are not much different than they are today, in western south dakota under the same conditions, the same grass they

did a century or more ago. and had written stories about his own life coming in the 1930s after retiring from the cattle business he wrote an article called developing the west. when was able to glean a really -- as a person, as an individual. controlled recklessness, really mirrors growth and development, shared similar characteristics. he was a very cerebral guy, methodical and intelligent. going to the way he organized his cattle roundups, he was very controlled but he had a wild and reckless streak. he wasn't one for shirking

danger whether it was stampedes or swollen rivers or indian engagements, he was not one to back down. that mirrors the growth in south dakota. it was a controlled process, the way one could homestead. 320 acre parcel of land, all designed to be methodical but the reality was different, there were claim jumps, file land claims under your wife name or your fictitious brother's name, very reckless the way it was implemented, it recognizes the two competing have of growth and develop and, controlled on one hand. he just underneath the surface, you might not necessarily see

him when he is there. the community -- a beautiful metal sculpture by john lopez. the railroad, the santa fe railroad on the northern part of south dakota in the milwaukee railroad because of him in a follow, lemmon, south dakota established in his involvement. this could be mistaken for some regional character, a bit player in development of single state. ed lemmon is more than that. in much the same way, these famous cattleman, lonesome of was designed after, lemmon is that, the southern great

plains, these guys help establish more than their own individual cattle ranches in the northern great plains helping guide the railroads establishing settlements and a variety during his time in the northern great plains, bringing people to the region by the cattle drive more than anyone ever could. he helped put in place systems that brought people here as part of the fabric of western south dakota as a whole. >> south dakota state capital was constructed more than 100 years ago. he was covering the south dakota legislature. as we look at the literary life of south dakota tv sits down with mister mercer to learn about the current state of journalism in south dakota and the nation as well.

>> 1986 i moved here to south dakota, aberdeen coverage. i will spend 30 years, in that time i made a number of transitions. in 1998 i went to work for governor bill and went back to the newspaper business, as part of the transition business, i contracted with five daily papers back to the aberdeen american news continuing that relationship with the other papers, expanded 7 papers in the state, get the state government news through me. what i have seen here the last 30 years, the complete

reversal, newspapers and tv stations, went from having 10 year reporters in the 1980s, 3 daily papers, public radio, gradually diminished and right now two of us left. and ap reported his job is the entire state and have me. that is counterproductive, superficial reporting, don't give depth. in our legislature, 105 members and every one of those, many

things they want to accomplish whatever the case might be and i don't think on any given day the third of the committees covered and dozens of bills, pieces of legislation, and i don't think, beyond one, or two or three those get covered and yet they are all things people want past or want to kill, whatever the case might be, tremendous debates on things, just never see a word in print or broadcast. where the newspaper industry is in south dakota transitioning to an online presence as well but doing it in different ways in which the company i work

for, privately owned company, they prize local content, grants to pursue projects, and put themselves out of business and go strictly online, not print a product at all anymore. going opposite ways, papers that i slowly dying, they continue to publish, but i don't know for how long where they will be 20 years from now.

the trouble these organizations, it is difficult to get advertising onto the web, don't have page after page of ads. there may be an ad or two or three, news organizations main front site on the web, go to the store and might have two or three and don't have page after page or minute after minute of time of advertising so if you read in the newspaper, listening to the radio or watching television broadcasts, you're getting a steady stream of advertising whereas on the

web it is a targeted, narrow advertising. that narrowness and effects their budgets and their budgets drive the reporting staff and consequently they have fewer reporters. i throw a circulation number out, the state's largest city, tremendous growth, the growth is gone, they doubled in growth in terms of population in the last decade or so. half of it circulation or more in the same decade. and the same thing in rapid

city, the second largest city, steadily going down, circulation going steady in some places. to some extent, i don't see good things coming in those places that are the fastest growing places in south dakota, i think what you see happening in rapid city is what you are seeing in other states across the nation. we have seen a steady decline across the country and the washington post, the grand

family sold the post a few years ago to the owner of amazon and i don't think that paper would ever get sold. as a daily leader of the, i see a shift in its tone, it is increasingly analytical as opposed to factual, much more opinion highlighted even from its staff. more analysis, in my opinion less coverage of the nuts and bolts of the federal

government. set your tone for news organizations throughout the nation. in april, donald trump was hitting the 100 day mark. pay-per-view battle, and the 100 day mark. and trump succeeded in changing the tone about that, 100 days mattered, he still hasn't accomplished much. he at least accomplished a change of tone. i don't vote, i never have so i don't have a position on whether he is right or wrong.

i wrote a column trump changed the conversation based on 100 days, one of my papers wouldn't run it. it is a real good column. a fixture, one of the papers wouldn't run it. because they didn't want to give him credit, didn't agree with what i was saying about him changing the conversation. they just thought he is wrong. that had never happened to me before. the paper chose to censor me. a better way to put it is we

are becoming misinformed. trump, i won't name the organization but there is a new level that had to do with trump getting elected and i use the term news outlet loosely but on the other hand that is where people go to find out or reinforce what they already believe. .. there is no middle anymore or there is less and less of a middle these days and i think we

see that in our national politics, in the congress and in the campaigns for president. it gets down to the state level and you see it in the campaigns for state offices in ways that weren't there before. i think that where this leads will be pockets of people who just don't get information or don't get reliable information, information they can take to the voting booth or to the council meeting and so what you will see our what you'll see our places where they are down to run reporter per radio station, down to a handful of reporters at the newspaper and i think those will

continue to get shaved. you will see radio increasingly go automatic and i think you will gradually see newspapers-- some newspapers become more and more where they rely on ap for copy, but ap is pulling back and so i don't, i mean, i really-- i worry about the future of journalism in that respect and i worry about what happens to the readers and the listeners as a result of that. their decisions will be based increasingly on hearsay and not on reported facts. >> with the help of their cable

partners c-span is in. , south dakota to learn more about its history and literary community. we continue our special feature with author kathy drane as she revisits her grandfather's life as a cowboy on the open range in the american frontier. >> lovely early september date and the cemetery on the banks of the beautiful missouri river, basically at the edge of what was part of his world famous buffalo ranch and scotty wanted to have a cemetery plot for his family, children, relatives and he took this piece of land because he thought the view was lovely and made it for the scotty philip family. scotty philip was born in scotland into a large family, came to the us at the age of 15. went to a small scottish

settlement in kansas, discovered he didn't think that was where he wanted to be an thought gold fever and came to the black hills. he was run out by the army a couple times then fill in as the indian situation was trying to be resolved, found a place for himself at fort robinson in northwest nebraska and became a freighter, someone who would herd cattle for the native americans and he ultimately because he married sarah larabee who had american indian blood, they then came from fort robinson up into this area where he was going to start a ranch, so that's how it all began. being a man of adventure and went into make something of himself he rapidly became manager, pardo-- owner of a couple cattle companies and then he was able to gracie's growing

herds on indian land and he became a part owner of a bank, politician, big man in central south dakota. then, a gentleman in the northwest corner of the state, pete dupree died and left a small herd of buffalo. now, this was at the time when the big thing to do is come out on a train and shoot buffalo from the train cars, leave them to rot on the prairie. this does not sit well with sarah because she was a native american or with pete depriest white because she was native american as well and the story as they put pressure on their husbands to get some of these buffalo and for all practical purposes save the buffalo from extinction, so scotty and several hands one of whom was my grandfather went out to the pre- and drove buffalo down, which i have to think is sort of

like hiking through jell-o or hurting's. i don't think it was an easy trip, but he got them down here in the herd grew and grew and he built a huge very heavy buffalo fans around in these many acres and as the herd grew in his prominence grew and people began to realize that for all practical purposes he was the patron saint of the buffalo and he became very well-known and at that point then a nephew of scotty's who was born the hair-- where he was in scotland, but it didn't matter because the families were large and spread all over, but my grandpa was orphaned at three years old. his father died at three. his mother died of-- soon after. he was taken care of by his grandparents and it went well, but how much fun is that? it was finally decided by the

family that he would be a protest to a shift engineer. that lasted, not so long and he realized i'm not really cut out for this. the problem was he had a five-year apprenticeship and he was 16. we are not living this and he had to figure out a way to break the apprenticeship legally. so, he thought what he ought to do is cultivate a attention grabbing cost which he did in the doctors thing what's wrong with you. nothing, i'm healthy, which was true. of the cough was a lie. ultimately the doctors is said i really think you need a year rest your cow about south africa or the united states. the united states sounded like just the deal so he got on a ship, came to kansas, gathered in with the family and after a year on the ranch in kansas thought that wasn't going to be

good so being young and foolish he then went to colorado, worked in a lover camp for a year, which is not fun and thought this is not a good plan, but scotty had heard his nephew was in the area. somehow or another a later reach my grandpa from scotty saying if you need a job come up and i will put you to work and that's really where the story begin. george philip arrived in fort peer wondering what i do now and as he was walking down the street ran into scotty who he has seen only once before at a family wedding and he said, hello there, i'm george. on coming in response to your letter. wonderful said scotty, probably. he said come with me. got him set up with a horse. he was there any was going to work with, gave him a bed roll and said follow those men and out they went to work with the herd and at that time scotty was

bringing in a fair amount of cattle from texas on the train. there were times when my grandpa george and the other men were down in the radial yard working the cattle there or they would bring the cattle and take them to pastor, you know. and do what people do with cattle, which is followed them around and say, good cow or whatever. anyway, he did that for four years, but in the time span of those four years, keep in mind there were no fences. there were very few roads. of the map was stars and the creeks turkey would follow the water down hill until you knew where you were. there were other home ranch houses, but they were far between. you have got to know that topography and his travels with

the cattle took him almost to the north dakota line and a down into the northwestern part of nebraska. all of this with his history of horses, which would be about 10 animals that would move with the cattle and the man he was working with and they would herd the horses. they would herd the cattle. they would round them up at night and cut them out for branding or if they were catching the horses in the spring they would gild the stallions and it was just pretty typical ranch work expect there wasn't really a ranch. there were rolling prairies and ravines and rivers and things like that. by 1931, he had his two grown sons and military and by 1936 it became clear to him and the rest of the world things were not going well in europe and i

suppose taking a personal interest tory-- inventory as we all do realize it was important to him that his children understand these years on the prairie because while at the very end of his time on the prairie, which would have been 1902 or 1903, for all practical purposes the great open range was closing. barb wire was coming up. roads were happening. the life that he knew was gone and he felt a lot of experiences, a lot of the knowledge and people who were part of that were going to be forgotten. his children knew of his western history, but not really, so he began to write these long letters to his children. because he wanted them to understand what he called himself an ordinary man. well, it's obvious by the end of

that there was nothing ordinary about my grandfather at all. he was exceptional in many ways, but he wanted them to know what his experiences had been. he would write to these letters as time allowed. some letters would be just one incident. some would be funny. some would be not so funny. some would be point in time and one of the really fine things that i think my grandfather did in the letters, which comprised the book is he-- in many places he said to his children because these were originally letters he wrote to his adult children. he said you need to understand the real cowboys were not tinseled and spent their time in bars and shot everyone they saw. they said it wasn't like that. the cowboys were young and they worked hard and they lived hard and you slept outside under the

stars or under the clouds or the wagons if it was rainy. it was a hard life and you were in the saddle 18, 20, 24 hours or more day as the situation demanded. these were his statement was these were fine men, not always educated, but always fine thoroughbred people, trustable, knowledgeable, experienced and he said the tragedy is and he wanted to remedy that that the names of some of these truly wonderful men skilled men who built the west that we are familiar with, he said they will be lost to history because there is no one here to write it and i think he said-- set a personal past to do some of that writing. he said everything that is a started in life should have a purpose.

he explained his purpose. mine in undertaking this letter and such others is to chronicle the uneventful story of an unimportant man. and to give each of you some idea of the experiences and ordinary-- an ordinary chap could have in a generation that preceded yours. he was aware of the change to the land and what it would do to society when open range closed. i think he really wanted that to sense of closure and change to be something his children could recognize and hopefully absorb that life does that to you. you have these moments of ecstasy or periods of ecstasy and then there is a time of reckoning or you gather all of that in your self and then you open up into something new. i think that is what he was doing.

>> author laura ingalls wilder is well-known for her little house series which has reached a billions of readers worldwide. with the support of our mid- cocaine both partners book will speak with nancy, director of that kind are group-- girl project, a research expert exploring wilder's memoirs and inspiration for her writing. >> the pioneer girl project is a research and publishing program of the state historical society that is it designed to study and publish a comprehensive edition of laura ingalls wilder pioneer girl which is her autobiography. laura ingalls wilder was an amazing person. she was a woman who-- how do you start with laura? who is laura ingalls wilder?

she was this 2-year old kid who came out to the kansas frontier in 1869 and dispense the next 16 years of her life on various parts of the american frontier. then, as an adult laura ingalls wilder moved into missouri, started a career in file-- farm journalism, wrote weekly columns for the local newspaper on how to get hens to lay eggs and all kinds of things like that. when she was 63 years old she wrote her autobiography. in 1932, she published her first book. she is best known for the little house series books which are these eight books about her childhood starting with little house on the big woods.

the second book was about her husband's childhood and that is "farmer boy". her third boy is when she launched this concept of doing the history of the frontier in multiple volumes. her third book is probably in many ways are best-known book. it was little house on the prairie. that was the name of the television series that ran prone like 1974 to the end of the 80s. the fourth book is by the shores of silverlake, a long winter, little town on the prairie and these happy golden years and they tell her story of her family pioneering as a settler on the frontier, the western frontier of america. laura ingalls wilder translated into i think upwards of 60

languages and sold billions of copies. they are very influential in our culture. they tell the quintessential american pioneering a journey, so when i started the biography series i knew i wanted to do a book on laura ingalls wilder, so i commissioned it from pamela smith hill who is herself a writer of young adult fiction. i thought that's a good point of view on wilder, when you don't necessarily always get from historians point of view. she would say to me, there is the pioneer girl, which had never been published. it was her autobiography. it just had a language in these archives support years and she

said, but i think there is a marketer for that or i think people are interested in that and eventually we decided okay, let's do this and see if we get the rights to publish that. lets to put together a proposal, which we did. then, took the proposal to the little house heritage trust, which is the guardian of wilder's literary properties and took about a year's worth of negotiation, but they said okay. we will give you the permission to do that and i think it was more than permission. it was also a privilege and something that we had to look at seriously. we had to decide okay, pioneer girl, the manuscript of pioneer girl exists in at least five different formats. you have got the handwritten

first drafts and then she has got three type scripts that come off of that that are full-length manuscripts and then there is a children's manuscripts at the end called "juvenile pioneer girl" so we had figure out what will we going to do and we decided we would go with the handwritten version because that was the closest to wilder's original voice. well, the first thing that had to be done is manuscript had to be transcribed because it was a handwritten manuscripts and so we spent-- i don't even know how long, transcribing that, proofreading it, figuring out the manuscript because there were many, you know, it was that era before computers, so she

wrote that manuscript, so she wanted to amend it without redoing it. she had to do it in a non- technological way. she would use ink-- she used pens, she literally took stick hens and-- took stick pins and put corrections together or append them to the page before or she wrote in between lines. we study the manuscript. if you look at why is the books of big, that is one of the questions mentioned. wise the books of a? it's because it is set up to be -- [inaudible] >> that mean to have wilder's text here, the original text and footnotes based on things that

we decided to put in, so we've got notes here in this column and, of course, as you can see what we had to say or what the text-- the questions that the text brought out, you know, were bigger than the text itself. must extend over on a couple of pages. so, it was a matter of the figuring out all of the pieces and but at the same time not letting our notes overwhelm the text, which happened at times. we would have liked 1300 words for a three word sentence or five word sentence and then there is 1300 words. well, you have to shrink that down to make it workable. much as i wanted to go home i

did not want to be unfair or deceitful. i was only going with him for the sake of it being home over sunday and fully intended to stop as soon as my school without. so, that's what wilder wrote, but with that brought to mind for us was, wilder's phrase home over sunday used here for the second time in a situation she described in pioneer girl inspired lane, her daughters, short story called "home over saturday" published in the saturday evening post september 11, 1937, fictionalized her mother's experiences and her father's weekend rescues. the wilder home over saturday, the same elements provide the tension and captures two through

10 of these happy golden years. last novel published in wilder's lifetime. the more interesting graphic in some way are things like this, which is wilder's drawing of how it works and so she's trying to help her daughter who is her editor figure out how it works, so she draws this picture of it, which we used in the original. then, just last week i became aware that there are two more copies of this very same drawing and this is rough draft of the little town on the prairie manuscript. i just didn't realize it was there. it says very pointedly on it,

it's to her daughter rose, please don't lose this. it is the third map i have drawn actually, i was in new york at my staff called me and said you are on the "new york times" best seller list and we were pretty excited and getting congratulations from all over. we were also getting a lot of attention with people interested with film rights and what about this kind of right and that kind of rights, so it opened up a whole new world of conversations with people. it's fairly overwhelming press at times, but something that has made our future in many ways because we were able to ride that wave and it's going to pay

its way through time and help us do our mission. of the next project is pioneer girl project is already out and it's called "pioneer call prospective, laura ingalls wilder ". we knew we were going to continue our exploration that laura ingalls wilder's text. one of the things that is the success of pioneer girl, the autobiography did was allowed us to think more conference of way about what the pioneer girl project was doing and what we decided we wanted to do was really look at those texts and start to answer some of those questions about what kind of an editor was rose wilder lane.

what kind of memory did laura ingalls wilder have? to what extent was that memory supplemented by her daughters work? this is just on the nonfiction aspect of it and then you move into fiction and how did that daughter, editor, agent lead her mother into fiction and what were the roles of the two women? so, that's what we decided we would do and study all of the text that generates a piece of which is in "pioneer girl: tht a biography" so, that's our future. i want to take-- the take away to be that history can be fun. that we don't understand is a

reading the public we don't understand the role of authors and editors, that most good authors have good editors and is so that's what i would like to take away from the project to be is to see that the story, the voice, the writer here is laura ingalls wilder and the editor who was very talented i would she did is rose wilder lane. i think those lines get blurred and confused partly because we don't talk to enough editors. we don't know what it is that they really do. and i think we should rectify that. seem like you are watching the tv on c-span2 with top nonfiction books and authors every weekend. book tv, television for serious readers.

>> on this columbus day weekend we have three days of book tv. afterwards, former radio host and msnbc contributor charles sykes looks at the conservative movement in america. he's interviewed by fox news contributor tammy bruce. tonight, authors on education and education reform. you will hear from a former pbs news hour education correspondent john marrow, author of addicted to reform. talkshow host sam whose book is "they are your kids" and cathy davidson county director of the futures initiative at the city university of new york and author of the new education work also this weekend nobel prize-winning economist mohammed younis talks about how to solve the problems of global poverty, unemployment and climate change. he's in conversation with jeffrey sachs and columbia university