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I'm Andrew Smith. | 0:00:05 | 0:00:07 | |
I'm an author and I've just arrived in the Deep South | 0:00:07 | 0:00:09 | |
of the United States. | 0:00:09 | 0:00:13 | |
I'm here for the 50th anniversary of a novel that shone a unique light | 0:00:13 | 0:00:16 | |
on racial prejudice. | 0:00:16 | 0:00:19 | |
It sold over 40 million copies. | 0:00:19 | 0:00:22 | |
It's my favourite book. | 0:00:22 | 0:00:26 | |
It's To Kill A Mockingbird. | 0:00:28 | 0:00:29 | |
This is a book that's part fable, | 0:00:45 | 0:00:46 | |
part catalyst for change, and partly just a brilliant story. | 0:00:46 | 0:00:51 | |
It's sometimes thought of as a children's book, | 0:00:51 | 0:00:54 | |
but it's far more than that. | 0:00:54 | 0:00:57 | |
To Kill A Mockingbird is a story of small-town America in the 1930s, | 0:00:57 | 0:01:02 | |
seen through the eyes of a young tomboy known as Scout. | 0:01:02 | 0:01:06 | |
The novel follows Scout, her brother Jem and friend Dill | 0:01:06 | 0:01:10 | |
as they try to make sense of the adult world. | 0:01:10 | 0:01:13 | |
A world that turns from carefree to ominous when Scout's lawyer-father | 0:01:13 | 0:01:17 | |
Atticus is asked to defend Tom Robinson, a black man | 0:01:17 | 0:01:21 | |
falsely accused of raping a white woman. | 0:01:21 | 0:01:24 | |
Harper Lee uses the naivety of a child to present a fresh vision | 0:01:24 | 0:01:28 | |
of the adult world and the prejudice and intolerance | 0:01:28 | 0:01:31 | |
that they normally accept. | 0:01:31 | 0:01:34 | |
This is a book that changed people, shifted perceptions and quickened | 0:01:34 | 0:01:38 | |
the march to civil rights. | 0:01:38 | 0:01:41 | |
When it was first published, the book was a sensational success, | 0:01:41 | 0:01:45 | |
winning its first-time author a Pulitzer Prize | 0:01:45 | 0:01:49 | |
and being made into a major Hollywood movie, | 0:01:49 | 0:01:51 | |
starring Gregory Peck. | 0:01:51 | 0:01:52 | |
You have to remember, it's a sin to kill a mockingbird. | 0:01:52 | 0:01:56 | |
It's a tail of people who live with prejudice, redemption, love, | 0:01:56 | 0:01:59 | |
hatred, cruelty and joy and I want to understand it better. | 0:01:59 | 0:02:04 | |
I want to find out what inspired such an affectionate portrait | 0:02:04 | 0:02:09 | |
of such ugly attitudes. | 0:02:09 | 0:02:11 | |
I'm beginning my journey by climbing into the skin of the author, | 0:02:25 | 0:02:29 | |
Nelle Harper Lee. | 0:02:29 | 0:02:30 | |
Her one and only novel, has its roots here in America's Deep South. | 0:02:31 | 0:02:35 | |
So I'm here. | 0:02:37 | 0:02:39 | |
I'm heading south into Alabama, | 0:02:39 | 0:02:40 | |
never been to the south before, it's incredibly exciting. | 0:02:40 | 0:02:43 | |
Monroeville was Harper Lee's childhood home | 0:03:04 | 0:03:07 | |
and where, I believe, she still lives today. | 0:03:07 | 0:03:10 | |
The clamour and attention that came with the worldwide | 0:03:10 | 0:03:12 | |
success of her first novel resulted in the author withdrawing | 0:03:12 | 0:03:16 | |
from public life completely, never to publish another book. | 0:03:16 | 0:03:20 | |
Harper Lee gave her last interview in 1965. | 0:03:20 | 0:03:25 | |
I've written to her explaining that I'm making this film, | 0:03:25 | 0:03:27 | |
but she hasn't replied. | 0:03:27 | 0:03:30 | |
I've come anyway as the town claims to be the basis for Maycomb, | 0:03:30 | 0:03:33 | |
the fictional town in the novel and they're promising a weekend | 0:03:33 | 0:03:37 | |
of 50th anniversary celebrations. | 0:03:37 | 0:03:39 | |
But a tornado is threatening nearby, and the party on the lawn has been | 0:03:44 | 0:03:47 | |
moved to... | 0:03:47 | 0:03:49 | |
a water tower. | 0:03:49 | 0:03:51 | |
There appears to be a fashion show going on. | 0:04:02 | 0:04:04 | |
Not sure what that has to do with the book. | 0:04:04 | 0:04:06 | |
I don't know what I expected, but it wasn't this. | 0:04:09 | 0:04:12 | |
Harper's real name is Nelle Harper Lee. | 0:04:14 | 0:04:18 | |
They say that while TV crews never catch a sight of her, | 0:04:18 | 0:04:22 | |
to locals she is very well known indeed. | 0:04:22 | 0:04:24 | |
The author of the book was my mother and daddy's neighbour. | 0:04:24 | 0:04:27 | |
And I would read the book and some of it is fictional | 0:04:27 | 0:04:30 | |
and some of it, of course, is not. | 0:04:30 | 0:04:33 | |
But then that was what was so funny about it. | 0:04:33 | 0:04:35 | |
I'd say, "Mother did this..." "U-huh, it happened. This is real." | 0:04:35 | 0:04:38 | |
What do you think the book means to the town itself? | 0:04:38 | 0:04:42 | |
A lot of income. | 0:04:42 | 0:04:45 | |
-OK. OK. -That's one of the main things. | 0:04:45 | 0:04:48 | |
Right. How do you think Nelle would feel about that? | 0:04:48 | 0:04:51 | |
I think that she's pleased with what it's done for Monroeville. | 0:04:51 | 0:04:54 | |
OK. | 0:04:54 | 0:04:56 | |
Enjoy the party, you did a great job. Bye. | 0:04:57 | 0:05:00 | |
The next morning, celebrations are in full swing. | 0:05:25 | 0:05:27 | |
Helped, no doubt, by the launch of Mockingbird ice cream. | 0:05:27 | 0:05:31 | |
# Who do you think you are? Mr Big Star | 0:05:31 | 0:05:34 | |
# You're never going to get my love... # | 0:05:36 | 0:05:39 | |
-Have you read To Kill A Mockingbird? -No. | 0:05:39 | 0:05:42 | |
-No. Have you read it? -No. -Oh, OK. | 0:05:42 | 0:05:44 | |
-I'm not familiar with it. -You haven't read the book? OK. | 0:05:46 | 0:05:50 | |
Have you read the book, To kill a Mockingbird? | 0:05:53 | 0:05:55 | |
-No, I haven't. -You haven't? | 0:05:55 | 0:05:57 | |
-I haven't got around to it yet. -Oh, OK. All right. -Thank you though. | 0:05:57 | 0:06:01 | |
OK, yes. No, thank you. | 0:06:01 | 0:06:03 | |
If one or two people are not overly familiar with the book, | 0:06:05 | 0:06:08 | |
everyone seems to know the local celebrity, Nelle Harper Lee. | 0:06:08 | 0:06:13 | |
I've been told that I have probably met Harper Lee | 0:06:13 | 0:06:16 | |
at one time but didn't know it. | 0:06:16 | 0:06:18 | |
The rumour about her is that if you meet her and don't recognise her | 0:06:18 | 0:06:21 | |
she's not happy, but if you meet her and recognise her, she is not happy. | 0:06:21 | 0:06:25 | |
I am so proud that Nelle Harper is from here | 0:06:27 | 0:06:30 | |
and put us on the map. | 0:06:30 | 0:06:33 | |
We consider ourselves to be Maycomb, Monroeville and very proud of | 0:06:33 | 0:06:37 | |
Harper Lee and we're having a great time celebrating our community. | 0:06:37 | 0:06:40 | |
Make it good, all right? 'I grew up reading this novel.' | 0:06:43 | 0:06:46 | |
I've read it more than any other book. | 0:06:46 | 0:06:49 | |
So if this really is the model for the fictional Maycomb, | 0:06:49 | 0:06:52 | |
I'm curious to see how much I recognise. | 0:06:52 | 0:06:56 | |
Local tour guide, Pat Nettles is always happy to show off the town | 0:06:56 | 0:07:01 | |
to Mockingbird fans like me. | 0:07:01 | 0:07:02 | |
Unfortunately, there are not many things standing that were | 0:07:02 | 0:07:06 | |
-here when she was a child. -Right. | 0:07:06 | 0:07:09 | |
So we have old pictures. | 0:07:09 | 0:07:11 | |
Pat begins my tour of buildings that filled | 0:07:15 | 0:07:17 | |
the world of the young Harper Lee. | 0:07:17 | 0:07:20 | |
This is the old court house here. | 0:07:20 | 0:07:23 | |
This one has no significance. | 0:07:23 | 0:07:24 | |
Or rather a tour of buildings that have replaced | 0:07:24 | 0:07:27 | |
the buildings that filled the world of the young Harper Lee. | 0:07:27 | 0:07:30 | |
There were houses across the street... | 0:07:30 | 0:07:33 | |
Thank goodness for those pictures! | 0:07:33 | 0:07:36 | |
-There's a mockingbird. -Oh, yes! -That's a mockingbird. | 0:07:36 | 0:07:39 | |
That is the first mockingbird I've seen. | 0:07:39 | 0:07:41 | |
They're a bit like Nelle Lee, they're everywhere, | 0:07:41 | 0:07:44 | |
-but you don't see her. -Yes, right! | 0:07:44 | 0:07:46 | |
'I may have seen my first mockingbird, | 0:07:46 | 0:07:49 | |
'but I'm having to stretch my imagination to see the town | 0:07:49 | 0:07:52 | |
'featured in the novel and even Pat seems to be clutching at straws.' | 0:07:52 | 0:07:56 | |
We are walking up the steps to the school that Harper Lee attended. | 0:07:56 | 0:08:00 | |
And I think perhaps these steps were actually here. | 0:08:00 | 0:08:05 | |
A lady describing herself as a relative of Harper Lee | 0:08:05 | 0:08:09 | |
arrives with some more more photos to show me. | 0:08:09 | 0:08:12 | |
Let them guess which one is Harper Lee. | 0:08:12 | 0:08:15 | |
-Right. -OK. Let me try and guess. | 0:08:15 | 0:08:16 | |
Let me try and guess. | 0:08:16 | 0:08:18 | |
-That one. -That's she. -Yay! | 0:08:21 | 0:08:23 | |
It's a widely held view that she was writing | 0:08:23 | 0:08:26 | |
about herself when she created Scout, the narrator. | 0:08:26 | 0:08:30 | |
-Patsy, thank you. -Thank you. -That's really interesting. | 0:08:32 | 0:08:35 | |
Pat tells me locals are convinced | 0:08:35 | 0:08:37 | |
that pretty much everything that happened in the novel | 0:08:37 | 0:08:40 | |
is a mirror image of real-life Monroeville | 0:08:40 | 0:08:43 | |
during Harper Lee's childhood. | 0:08:43 | 0:08:45 | |
This is a picture of the, of a house | 0:08:45 | 0:08:49 | |
that people remember as looking very much like | 0:08:49 | 0:08:53 | |
the house that was here that Truman Capote | 0:08:53 | 0:08:57 | |
stayed in with his aunt. | 0:08:57 | 0:08:59 | |
Remarkably, as children, | 0:09:01 | 0:09:02 | |
two greats of American literature lived next door to each other. | 0:09:02 | 0:09:07 | |
Just like Scout, Jem and Dill in the book, | 0:09:07 | 0:09:09 | |
Truman Capote and Nelle Lee used to make up stories together. | 0:09:09 | 0:09:13 | |
That creative collaboration | 0:09:15 | 0:09:17 | |
continued into their professional lives. | 0:09:17 | 0:09:19 | |
Truman himself said the geeky character of Dill was based on him. | 0:09:19 | 0:09:24 | |
...inspiration for Boo Radley. Where that filling station is | 0:09:24 | 0:09:27 | |
was an old house and the family that lived there | 0:09:27 | 0:09:33 | |
had a son and he was a recluse. | 0:09:33 | 0:09:37 | |
Boo Radley is Scout's malevolent phantom. | 0:09:37 | 0:09:40 | |
Scout, Jem and Dill dare each other | 0:09:40 | 0:09:42 | |
to provoke their reclusive neighbour into coming out of the house. | 0:09:42 | 0:09:45 | |
The mysterious Boo leaves gifts for them in a tree | 0:09:45 | 0:09:50 | |
and ultimately saves their lives. | 0:09:50 | 0:09:53 | |
Nelle Lee, Harper Lee has | 0:09:53 | 0:09:55 | |
-not said that this was based on that. -Oh, no. | 0:09:55 | 0:09:58 | |
But children had all kinds of stories and rumours about him. | 0:09:58 | 0:10:01 | |
Absolutely. Absolutely. I left out one important thing. | 0:10:01 | 0:10:04 | |
-This is Harper Lee's house. -Wow! | 0:10:04 | 0:10:07 | |
So we're right in the heart of the story. | 0:10:07 | 0:10:10 | |
There's a little shiver going down my spine. | 0:10:10 | 0:10:12 | |
In 1962, Hollywood turned its attention to the novel | 0:10:23 | 0:10:27 | |
that was sweeping the country. | 0:10:27 | 0:10:28 | |
Gregory Peck was perfectly cast as Atticus Finch, Harper Lee's quietly | 0:10:28 | 0:10:34 | |
wise, chivalrous hero. | 0:10:34 | 0:10:37 | |
Atticus is Scout's father, a lawyer appointed to defend | 0:10:37 | 0:10:40 | |
an innocent black man. | 0:10:40 | 0:10:42 | |
Lee adored Peck's portrayal of her hero and they became close friends. | 0:10:45 | 0:10:51 | |
-Hello. -I'd like some popcorn, please. -OK. | 0:10:51 | 0:10:54 | |
I've never seen the film as I've always been afraid | 0:10:54 | 0:10:59 | |
it would detract from the beauty of Lee's writing. | 0:10:59 | 0:11:02 | |
But where better place to watch it | 0:11:02 | 0:11:03 | |
then in a drive-in movie theatre in Alabama? | 0:11:03 | 0:11:06 | |
LAUGHTER | 0:11:06 | 0:11:10 | |
We're really not comfortable or anything. | 0:11:10 | 0:11:13 | |
-How are y'all? -Hi. Are you fans? | 0:11:13 | 0:11:17 | |
-You look like you might be. -Oh, absolutely. -We are. | 0:11:17 | 0:11:20 | |
Have you seen the film before? | 0:11:20 | 0:11:21 | |
-Yes. -Oh, gosh. Probably at least 20 times. | 0:11:21 | 0:11:26 | |
What do you like about it so much? | 0:11:26 | 0:11:28 | |
It's just a really good life movie and it really makes you | 0:11:28 | 0:11:31 | |
think about what you think about other people, | 0:11:31 | 0:11:34 | |
and how you treat other people and things. | 0:11:34 | 0:11:36 | |
-And how different it was back then... -Yes. | 0:11:36 | 0:11:39 | |
..In some ways, and yet still we're in the south | 0:11:39 | 0:11:41 | |
and there places where it's still the same. | 0:11:41 | 0:11:43 | |
-'I was six years old. -Morning, Mrs Cunningham!' | 0:11:50 | 0:11:54 | |
You never really understand a person | 0:11:54 | 0:11:56 | |
until you consider things from his point of view. | 0:11:56 | 0:12:00 | |
There are a number of differences to the novel, | 0:12:00 | 0:12:03 | |
but I like the way the film, like the book, | 0:12:03 | 0:12:05 | |
eases me gently into the character of small-town America | 0:12:05 | 0:12:08 | |
before the ugly cracks and harsh realities are exposed. | 0:12:08 | 0:12:12 | |
The only bit in the book that often strikes me as a little bit flat | 0:12:12 | 0:12:17 | |
or weaker than the rest, is the courtroom scene where Atticus | 0:12:17 | 0:12:21 | |
is summing up, but actually Gregory Peck did that brilliantly. | 0:12:21 | 0:12:25 | |
It came alive and it made me hear that speech afresh | 0:12:25 | 0:12:29 | |
and really for it to mean something. | 0:12:29 | 0:12:32 | |
Today, Monroeville's court house is a key stop | 0:12:39 | 0:12:42 | |
on the Mockingbird tourist trail. | 0:12:42 | 0:12:44 | |
To make the film, they copied it down to the last detail | 0:12:44 | 0:12:47 | |
and rebuilt it in Hollywood. | 0:12:47 | 0:12:50 | |
The spirited Scout begins by finding her father, | 0:12:50 | 0:12:53 | |
Atticus Finch to be dull and old. | 0:12:53 | 0:12:56 | |
When she sees him taking on the controversial case of Tom Robinson, | 0:12:56 | 0:13:00 | |
her view changes, and by the end of the book | 0:13:00 | 0:13:03 | |
she sees him for the hero he really is. | 0:13:03 | 0:13:05 | |
Like Scout, Harper Lee's own father was a lawyer. | 0:13:05 | 0:13:10 | |
"It was times like these when I thought my father, | 0:13:10 | 0:13:15 | |
"who hated guns and had never been to any wars, | 0:13:15 | 0:13:19 | |
"was the bravest man who ever lived". | 0:13:19 | 0:13:23 | |
To find out how much like Atticus Harper's father was, | 0:13:25 | 0:13:29 | |
I've asked for an interview with her 98-year-old-sister, Miss Alice Lee. | 0:13:29 | 0:13:35 | |
Amazingly, she still practises law at her father's firm. | 0:13:35 | 0:13:39 | |
As she normally refuses interviews, I am surprised to receive the news | 0:13:39 | 0:13:43 | |
that she will see me. | 0:13:43 | 0:13:45 | |
Her childhood must have been mostly in the Depression? | 0:13:48 | 0:13:52 | |
Well... | 0:13:52 | 0:13:55 | |
As I said, I do not discuss her. | 0:13:55 | 0:13:59 | |
Oh, I'm sorry, yes. | 0:13:59 | 0:14:00 | |
I'm sorry, I didn't mean to... | 0:14:00 | 0:14:02 | |
OK. I'm really interested to know what kind of a man your father was. | 0:14:02 | 0:14:07 | |
Well, he was a very gentle man. | 0:14:07 | 0:14:12 | |
He was a very family oriented man. | 0:14:12 | 0:14:17 | |
He loved his children. | 0:14:17 | 0:14:19 | |
He was just a very community oriented person. | 0:14:19 | 0:14:25 | |
AC Lee was a successful lawyer who, | 0:14:25 | 0:14:28 | |
according to legend, stood up to racists. | 0:14:28 | 0:14:31 | |
Just as Atticus Finch does in the novel. | 0:14:31 | 0:14:34 | |
There was a story of your father going and stopping the Ku Klux Klan | 0:14:34 | 0:14:41 | |
march through the town? | 0:14:41 | 0:14:45 | |
-Is that true? -No! There was no march. | 0:14:45 | 0:14:49 | |
The whole thing was a fabrication. | 0:14:49 | 0:14:53 | |
Oh, OK. How aware were you of segregation here | 0:14:53 | 0:14:57 | |
when you were growing up? | 0:14:57 | 0:14:59 | |
It was a way of life. Nobody thought anything about it. | 0:15:01 | 0:15:06 | |
The civil rights. LAUGHS | 0:15:08 | 0:15:11 | |
You know, you knew black people, but you didn't know them socially. | 0:15:11 | 0:15:17 | |
They were a servant class | 0:15:17 | 0:15:20 | |
and you always had a great relationship with your servants. | 0:15:20 | 0:15:25 | |
Right. | 0:15:25 | 0:15:26 | |
Is there anything I should do while I'm here? | 0:15:29 | 0:15:31 | |
Do you like fresh catfish? | 0:15:31 | 0:15:34 | |
Yes, indeed, yeah. | 0:15:34 | 0:15:35 | |
We have Davy's Catfish House | 0:15:35 | 0:15:40 | |
about four miles down the road. | 0:15:40 | 0:15:45 | |
It appears that while Harper Lee isn't in any rush to give | 0:16:03 | 0:16:06 | |
her first interview for 45 years, | 0:16:06 | 0:16:09 | |
she did sanction Miss Alice to speak to me. | 0:16:09 | 0:16:11 | |
Nelle seems to be everywhere and nowhere. | 0:16:11 | 0:16:15 | |
She seems to know what I'm up to at every turn. | 0:16:15 | 0:16:18 | |
It's a peculiar feeling. | 0:16:18 | 0:16:21 | |
However, at least I'm starting to | 0:16:21 | 0:16:23 | |
get some local knowledge - and not just about the book. | 0:16:23 | 0:16:26 | |
Miss Alice was right - this place is great. | 0:16:26 | 0:16:29 | |
To Kill A Mockingbird is written in the style of a Southern Gothic novel | 0:16:31 | 0:16:34 | |
in that it uses extraordinary events to explore the character | 0:16:34 | 0:16:38 | |
of the American South. | 0:16:38 | 0:16:41 | |
Lee uses the story of Tom Robinson's trial to expose the prejudice | 0:16:41 | 0:16:45 | |
of small town America in the '30s. | 0:16:45 | 0:16:48 | |
This trial is said to have been based | 0:16:50 | 0:16:53 | |
on a number of real life cases. | 0:16:53 | 0:16:55 | |
One of those cases is said to have occurred right here in Monroeville. | 0:16:58 | 0:17:02 | |
If that's true, Harper Lee would have had access to the details. | 0:17:04 | 0:17:08 | |
Her father was not only the town lawyer, | 0:17:08 | 0:17:10 | |
but also editor of the local paper. | 0:17:10 | 0:17:13 | |
I'm meeting up with columnist and local historian George Thomas Jones. | 0:17:17 | 0:17:21 | |
Nice to meet you, really nice to meet you. | 0:17:21 | 0:17:23 | |
I was just looking here where the first black man | 0:17:23 | 0:17:27 | |
-was accused of raping a white woman back in November 1933. -Oh, yeah? | 0:17:27 | 0:17:33 | |
He was a well respected black man. | 0:17:33 | 0:17:41 | |
-So this was actually in Monroeville? -Oh, yes. -OK. | 0:17:41 | 0:17:45 | |
It says here that the sheriff was afraid for his safety. | 0:17:45 | 0:17:49 | |
Why would the sheriff have been afraid for his safety? | 0:17:49 | 0:17:51 | |
He was afraid a group would come to the jail and kill him. | 0:17:51 | 0:17:58 | |
-Really? -Yeah. Lynch him. | 0:17:58 | 0:18:01 | |
Because that happens in To kill A Mockingbird, | 0:18:01 | 0:18:03 | |
where Tom Robinson is in the jail, | 0:18:03 | 0:18:05 | |
a bunch of people come and Atticus stops them. | 0:18:05 | 0:18:08 | |
All white, male juries back then. | 0:18:08 | 0:18:11 | |
So they found him guilty, just like Tom Robinson. | 0:18:11 | 0:18:14 | |
One thing that's interesting, we found in a closet a whole box, | 0:18:14 | 0:18:20 | |
files of criminal cases that went back to this era. | 0:18:20 | 0:18:24 | |
They were all chronologically perfect in order, | 0:18:24 | 0:18:28 | |
except this file was missing. | 0:18:28 | 0:18:33 | |
No! Really? | 0:18:33 | 0:18:35 | |
So there's a mystery attached to that one then. | 0:18:35 | 0:18:38 | |
Is it too fanciful to wonder if the editor borrowed the old files | 0:18:38 | 0:18:42 | |
for his daughter, who was writing a book, and forgot to return them? | 0:18:42 | 0:18:47 | |
Harper Lee's father, AC Lee, wasn't a criminal lawyer. | 0:18:47 | 0:18:52 | |
He was a civil lawyer. | 0:18:52 | 0:18:54 | |
But in 1934, the court appointed him | 0:18:54 | 0:18:59 | |
to defend two black men who were charged with murder. | 0:18:59 | 0:19:03 | |
Oh, OK, again, like the book - Atticus is appointed | 0:19:03 | 0:19:05 | |
to defend Tom Robinson. It's a case that no-one else wants. | 0:19:05 | 0:19:09 | |
That's supposed to be the only criminal case | 0:19:09 | 0:19:11 | |
he ever tried in his life. | 0:19:11 | 0:19:12 | |
Did you know AC Lee? | 0:19:12 | 0:19:15 | |
I was his golf caddy when I was 15 years old. | 0:19:15 | 0:19:18 | |
-Really, were you? -Oh, he was a great guy, real quiet, | 0:19:18 | 0:19:21 | |
but when he said something, he had something to say. | 0:19:21 | 0:19:23 | |
AC Lee used to write editorials in the paper. | 0:19:23 | 0:19:26 | |
What were his views on the race issue and civil rights? | 0:19:26 | 0:19:32 | |
He never wrote about it, that I know of. | 0:19:32 | 0:19:35 | |
-Never? -Never. -You'd have expected him to be addressing that, | 0:19:35 | 0:19:39 | |
wouldn't you? Why not? | 0:19:39 | 0:19:41 | |
There again, he couldn't afford to. | 0:19:41 | 0:19:43 | |
People wouldn't have read his paper. | 0:19:43 | 0:19:46 | |
They'd have blackballed him. | 0:19:46 | 0:19:48 | |
So it was a stranglehold. You're talking about a large | 0:19:48 | 0:19:51 | |
-social pressure here against change? -Sure, yeah. | 0:19:51 | 0:19:54 | |
AC Lee was a plain speaking man, | 0:19:54 | 0:19:57 | |
so effected by the mores of his time | 0:19:57 | 0:19:59 | |
that he couldn't speak freely in his own paper. | 0:19:59 | 0:20:02 | |
It seems today things are different. | 0:20:02 | 0:20:05 | |
If you write a story of your trip and your findings | 0:20:05 | 0:20:09 | |
and send it to me, I'll get it published. | 0:20:09 | 0:20:13 | |
-Fantastic. -I'll send you a copy. | 0:20:13 | 0:20:15 | |
That would be brilliant, thank you, George. | 0:20:15 | 0:20:17 | |
There's a story here in yesterday's paper about the guy who assassinated | 0:20:32 | 0:20:38 | |
Malcolm X in 1965 being released from prison after 45 years. | 0:20:38 | 0:20:43 | |
There was another story, the other day, | 0:20:43 | 0:20:45 | |
about a white supremacist being murdered in Jackson, Mississippi. | 0:20:45 | 0:20:50 | |
This morning, on CNN there was a big story | 0:20:50 | 0:20:53 | |
about a memorial for a civil rights activist from the '60s, | 0:20:53 | 0:20:57 | |
Dorothy Height, all of which serves | 0:20:57 | 0:21:00 | |
to show how ever present this issue is. | 0:21:00 | 0:21:04 | |
Hello! | 0:21:09 | 0:21:11 | |
Hi, come in. | 0:21:11 | 0:21:13 | |
'Tour guide Pat has kindly offered me a bed for the night, | 0:21:13 | 0:21:17 | |
'and some renowned Southern hospitality.' | 0:21:17 | 0:21:18 | |
I wonder if this too has the blessing of Harper Lee. | 0:21:21 | 0:21:25 | |
Perhaps I'm getting paranoid. | 0:21:25 | 0:21:26 | |
She can't be in touch with everyone in town. | 0:21:26 | 0:21:29 | |
How many of you know Nelle Harper? | 0:21:29 | 0:21:32 | |
-All of you. -Backdoor labour for years. | 0:21:35 | 0:21:38 | |
She's not a recluse. | 0:21:38 | 0:21:42 | |
She's just a private person. | 0:21:42 | 0:21:44 | |
She's so private, and we all, | 0:21:44 | 0:21:46 | |
meaning the entire town, protect her privacy. | 0:21:46 | 0:21:49 | |
Like Miss Alice, everyone here is closing ranks on Nelle. | 0:21:49 | 0:21:53 | |
So how do they feel about her novel? | 0:21:53 | 0:21:57 | |
On the whole, it doesn't paint the white people | 0:21:57 | 0:22:00 | |
of this town in a great light. | 0:22:00 | 0:22:01 | |
I've never heard anyone | 0:22:01 | 0:22:04 | |
in this community question the book. | 0:22:04 | 0:22:08 | |
Never. | 0:22:08 | 0:22:10 | |
I think it depicted the fact that there were people | 0:22:10 | 0:22:14 | |
who always stood for justice. | 0:22:14 | 0:22:18 | |
One of the things that I always found most beguiling about the book, | 0:22:18 | 0:22:22 | |
actually, by the end of the first page you feel like | 0:22:22 | 0:22:26 | |
you've descended into this world and you don't want to leave it. | 0:22:26 | 0:22:32 | |
I couldn't put it down and the tears... I was just weeping | 0:22:32 | 0:22:35 | |
because I was so homesick for it. | 0:22:35 | 0:22:37 | |
She'd captured how it really felt. | 0:22:37 | 0:22:41 | |
In the morning, as I begin to write my article for the Monroe Journal, | 0:22:46 | 0:22:49 | |
I can't help reflecting on, like Lee's Maycomb, | 0:22:49 | 0:22:54 | |
this seems to be a genteel little town. | 0:22:54 | 0:22:56 | |
They like things to be nice, | 0:22:56 | 0:22:58 | |
and people know their traditional roles. | 0:22:58 | 0:23:00 | |
In terms of the feeling you get when you're here, again, | 0:23:00 | 0:23:03 | |
and this ties into the book very clearly, | 0:23:03 | 0:23:07 | |
it feels the friendliest, | 0:23:07 | 0:23:08 | |
most welcoming place you could ever walk into. | 0:23:09 | 0:23:11 | |
That Southern hospitality cliche, stereotype, | 0:23:11 | 0:23:14 | |
does really seem to be real, and what you get is this | 0:23:14 | 0:23:18 | |
feeling of comfort being here. | 0:23:18 | 0:23:22 | |
But you do get the odd discordant note that suggests | 0:23:22 | 0:23:24 | |
there's stuff going on underneath that. | 0:23:24 | 0:23:27 | |
"You might hear some ugly talk about it at school, | 0:23:29 | 0:23:32 | |
"but do one thing for me, if you will. | 0:23:32 | 0:23:34 | |
"You just hold your head high and keep those fists down. | 0:23:34 | 0:23:38 | |
"No matter what anybody says to you, don't you let them get your goat." | 0:23:38 | 0:23:43 | |
I'm heading out of Monroeville to keep an appointment | 0:23:49 | 0:23:52 | |
I have very mixed feelings about. | 0:23:52 | 0:23:54 | |
To Kill A Mockingbird initially paints | 0:23:54 | 0:23:57 | |
a nostalgic picture of small town Alabama, | 0:23:57 | 0:24:01 | |
but as Scout loses her innocence, | 0:24:01 | 0:24:03 | |
Harper Lee reveals something much more unsettling. | 0:24:03 | 0:24:06 | |
To Kill A Mockingbird is set during the Great Depression of the 1930s. | 0:24:06 | 0:24:11 | |
Despite the end of slavery 70 years before, | 0:24:11 | 0:24:15 | |
the '30s were a time of deep racial division. | 0:24:15 | 0:24:19 | |
Lee captures the casual racism of the small town, Southern life | 0:24:21 | 0:24:25 | |
of her childhood. | 0:24:25 | 0:24:26 | |
As Lee was growing up, southern states were well acquainted | 0:24:29 | 0:24:33 | |
with members of a notorious hate group, the Ku Klux Klan. | 0:24:33 | 0:24:37 | |
Through the '50s, as Harper Lee wrote her novel, | 0:24:41 | 0:24:44 | |
their numbers swelled. | 0:24:44 | 0:24:46 | |
They're no longer the force they once were, | 0:24:46 | 0:24:49 | |
but the Ku Klux Klan is still very much in business. | 0:24:49 | 0:24:52 | |
I want to interrogate the racist attitudes that surrounded | 0:24:52 | 0:24:56 | |
Harper Lee in her formative years. | 0:24:56 | 0:24:59 | |
Tomorrow I'm meeting a member of the Ku Klux Klan, Ray Larson, | 0:24:59 | 0:25:02 | |
and I want to try to take a leaf out of Atticus's book. | 0:25:02 | 0:25:07 | |
Again, it's all there, isn't it? | 0:25:07 | 0:25:10 | |
His approach to Mrs Dubose, the grumpy old lady in the corner house | 0:25:10 | 0:25:15 | |
who insults his children as they go by and is racist, | 0:25:15 | 0:25:20 | |
and he treats her with the same respect | 0:25:20 | 0:25:24 | |
and courtesy as everybody else. I'm going to try and do that. | 0:25:24 | 0:25:27 | |
This is really strange, this is really strange. | 0:25:40 | 0:25:42 | |
Ray? Hi. | 0:25:44 | 0:25:47 | |
Thanks for coming. Glad you could make it. | 0:25:47 | 0:25:50 | |
He calls himself the Imperial Wizard of the National Knights | 0:25:50 | 0:25:53 | |
of the Ku Klux Klan, a man who has a history of violence | 0:25:53 | 0:25:56 | |
and who joined the Klan the year Mockingbird was published. | 0:25:56 | 0:26:00 | |
They say, "Ray, are you a racist?" Well, damn right I'm a racist, | 0:26:05 | 0:26:08 | |
"but you are too." | 0:26:08 | 0:26:09 | |
A racist is anyone who takes pride in the accomplishments of his race | 0:26:09 | 0:26:12 | |
regardless of what his race is. That's a racist. | 0:26:12 | 0:26:15 | |
Racist isn't usually used to mean | 0:26:15 | 0:26:17 | |
someone who takes pride in their own race's accomplishments. | 0:26:17 | 0:26:21 | |
They don't want it used that way, they sure don't. | 0:26:21 | 0:26:24 | |
What you got here? | 0:26:24 | 0:26:26 | |
Blimey. | 0:26:28 | 0:26:30 | |
That's a Grand Dragon of Alabama on the motorcycle. | 0:26:30 | 0:26:33 | |
OK. The Klan is often called a hate group. | 0:26:33 | 0:26:36 | |
Do you think of it as a hate group? | 0:26:36 | 0:26:39 | |
Myself, no. | 0:26:39 | 0:26:41 | |
Just because I don't get along with niggers don't mean I hate them. | 0:26:41 | 0:26:44 | |
Listen. | 0:26:44 | 0:26:45 | |
But it's really insulting to call them niggers. | 0:26:45 | 0:26:48 | |
You think it is. To me, I don't. | 0:26:48 | 0:26:50 | |
I look at them like a dog. | 0:26:50 | 0:26:52 | |
I don't hate a dog. | 0:26:52 | 0:26:54 | |
Calling a human being a dog is quite insulting. | 0:26:54 | 0:26:56 | |
-Not to me. They're the same. -How do you justify... | 0:26:56 | 0:26:58 | |
Explain to me where that view comes from though, | 0:26:58 | 0:27:01 | |
I've never heard it before. | 0:27:01 | 0:27:03 | |
There was our Klan motorcycle corps. | 0:27:03 | 0:27:05 | |
Yeah. Very nice. | 0:27:05 | 0:27:06 | |
There's a history of violence, including murder, | 0:27:06 | 0:27:11 | |
in the Klan. Do you still believe in that kind of violence? | 0:27:11 | 0:27:15 | |
-If it calls for it, yes. -What would call for it? | 0:27:15 | 0:27:18 | |
What would call for someone to be murdered? | 0:27:18 | 0:27:20 | |
If somebody rapes your wife, won't you want to do them in? | 0:27:20 | 0:27:23 | |
There's one of my Christmas cards. | 0:27:23 | 0:27:25 | |
He knows if he's been good or bad, he's got the presents for you. | 0:27:25 | 0:27:29 | |
I'll tell you what, there's not much that fazes me. | 0:27:29 | 0:27:34 | |
Ray, Ray, stay with me just for a sec. | 0:27:34 | 0:27:36 | |
There's not much that fazes me, | 0:27:36 | 0:27:39 | |
but seeing nooses, that really upsets me. | 0:27:39 | 0:27:42 | |
-That's a joke. -It's not a joke. | 0:27:42 | 0:27:44 | |
It's not funny, Ray. Ray, it's not funny, it's not a joke. | 0:27:44 | 0:27:47 | |
-I send that to kids. -It's not a joke. | 0:27:47 | 0:27:49 | |
Black people were routinely lynched. | 0:27:49 | 0:27:51 | |
This is talking about white people. I send this to white kids. | 0:27:51 | 0:27:54 | |
-This is a Ku Klux Christmas. -You send it to kids? -Sure. | 0:27:54 | 0:27:57 | |
Do you not care anything about what anyone thinks about anything? | 0:27:57 | 0:28:01 | |
-No. -What about your colleagues? | 0:28:01 | 0:28:04 | |
Do you not have any empathy with other people at all? | 0:28:04 | 0:28:07 | |
Absolutely, of course. | 0:28:07 | 0:28:09 | |
-My family, I love my family. -Yeah, but, I mean, just your family? | 0:28:09 | 0:28:13 | |
My Klan is my family. | 0:28:13 | 0:28:16 | |
I've been thinking that the Klan was in decline. | 0:28:16 | 0:28:19 | |
You're saying that it's... | 0:28:19 | 0:28:21 | |
Absolutely not. Like it did in the '60s. | 0:28:21 | 0:28:23 | |
In the '60s we were strong as hell, | 0:28:23 | 0:28:25 | |
but when the time come, they backed down. | 0:28:25 | 0:28:27 | |
Now, we've got that nigger president... | 0:28:27 | 0:28:29 | |
It's coming back, roaring back. | 0:28:29 | 0:28:31 | |
This is the book that sent me on this journey in the first place. | 0:28:31 | 0:28:36 | |
-You've never read it? -No, I've seen the movie, though. | 0:28:36 | 0:28:38 | |
What did you think of it? | 0:28:38 | 0:28:40 | |
I didn't care for it, naturally. | 0:28:40 | 0:28:43 | |
-Yeah, OK. -There are a lot of other books I could tell you to read, | 0:28:43 | 0:28:46 | |
that would be far better for you. | 0:28:46 | 0:28:48 | |
I can't tempt you with it at all? | 0:28:48 | 0:28:50 | |
No, no, I wouldn't want it seen in my house. | 0:28:50 | 0:28:53 | |
The colloquial term | 0:28:53 | 0:28:56 | |
for what you're describing about yourself, | 0:28:56 | 0:28:59 | |
-is someone who's very close minded. -I am. | 0:28:59 | 0:29:02 | |
Would you say that's true of most of the people around you in the Klan? | 0:29:02 | 0:29:06 | |
-Pretty much. -OK, so they're close minded people. | 0:29:06 | 0:29:09 | |
-I'd say, pretty much. You're not going to swing any of us, no. -OK. | 0:29:09 | 0:29:12 | |
-Can you button that for me there? -Sure. -I have no depth perception. | 0:29:16 | 0:29:20 | |
This is never something I thought I'd find myself doing. | 0:29:22 | 0:29:26 | |
Helping out a Klansman. | 0:29:26 | 0:29:28 | |
Are you aware that it looks ridiculous to me? | 0:29:30 | 0:29:32 | |
It just looks like a Halloween costume. | 0:29:32 | 0:29:35 | |
Right, there you have the Imperial Wizard. | 0:29:35 | 0:29:37 | |
Yeah. | 0:29:39 | 0:29:41 | |
I see Ray off in a taxi. | 0:29:41 | 0:29:44 | |
Half an hour later, | 0:29:46 | 0:29:47 | |
I've just spotted the same cab driver in the street. | 0:29:47 | 0:29:50 | |
What did he seem like to you, as a guy? | 0:29:50 | 0:29:52 | |
He was interesting. | 0:29:52 | 0:29:55 | |
His viewpoint was well taken. | 0:29:55 | 0:29:57 | |
He was well versed in politics. | 0:29:57 | 0:30:00 | |
If you'd known, would you still have taken him? | 0:30:00 | 0:30:03 | |
Of course I'd have taken him. | 0:30:03 | 0:30:05 | |
I don't deal with hatred in my heart every day. | 0:30:05 | 0:30:07 | |
I wake up, I pray to Jesus Christ my Lord and saviour | 0:30:07 | 0:30:10 | |
to take care of me and bless me throughout my entire day. | 0:30:10 | 0:30:14 | |
I pray for the evil ones, too. | 0:30:14 | 0:30:16 | |
If God can bless them every day | 0:30:16 | 0:30:20 | |
-with blood in their veins, why should I hate them? -OK. | 0:30:20 | 0:30:23 | |
This is the book I read every day. That's the New Testament. | 0:30:23 | 0:30:27 | |
I have an extra copy here. Why don't you take that? | 0:30:27 | 0:30:31 | |
OK, so we do a swap, yeah? | 0:30:31 | 0:30:34 | |
-Have you read that? -No, I haven't. Thank you very much. | 0:30:34 | 0:30:37 | |
-Good talking to you. -Have a good day. -Yeah, you, too. | 0:30:37 | 0:30:40 | |
It's quite humbling, in a way. | 0:30:42 | 0:30:46 | |
And um... | 0:30:46 | 0:30:50 | |
seems a real cause for optimism, actually, | 0:30:50 | 0:30:53 | |
that the hate is not on all sides. | 0:30:53 | 0:30:56 | |
Some people have it, some don't. | 0:30:56 | 0:30:57 | |
The novel covers three formative years in the life of Scout. | 0:31:10 | 0:31:14 | |
Part of the book's charm is in seeing | 0:31:14 | 0:31:16 | |
the changing world through her eyes. | 0:31:16 | 0:31:18 | |
It permits Harper Lee to sidestep | 0:31:18 | 0:31:21 | |
the niceties and manners of adult life, | 0:31:21 | 0:31:24 | |
the very things that allow prejudice and injustice to perpetuate. | 0:31:24 | 0:31:28 | |
"Men, stiff collars wilted by nine in the morning, | 0:31:33 | 0:31:37 | |
"ladies bathed before noon, after their three o'clock naps, | 0:31:37 | 0:31:43 | |
"and by nightfall were like soft tea cakes | 0:31:43 | 0:31:45 | |
"with frostings of sweat and sweet talcum." | 0:31:45 | 0:31:48 | |
Harper Lee draws us into Scout's innocent world at the start | 0:31:52 | 0:31:56 | |
of a work that was to become one of the most controversial | 0:31:56 | 0:31:59 | |
and censored books in the history of American literature, | 0:31:59 | 0:32:03 | |
as it deals with rape, racism and poverty. | 0:32:03 | 0:32:05 | |
Pulitzer Prize-winning Alabaman author Rick Bragg | 0:32:13 | 0:32:16 | |
is a lecturer and an admirer of the way Harper Lee managed | 0:32:16 | 0:32:20 | |
to make those difficult subjects palatable. | 0:32:20 | 0:32:22 | |
If it had not been beautifully written, | 0:32:22 | 0:32:24 | |
if it had not been so pleasing to the ear, | 0:32:24 | 0:32:29 | |
then I don't think any of that other great impact would have occurred. | 0:32:29 | 0:32:36 | |
We have this remedy down here for a bad cold, | 0:32:36 | 0:32:40 | |
popular with children, | 0:32:40 | 0:32:43 | |
and we take white whisky, moonshine, | 0:32:43 | 0:32:47 | |
and you take crushed peppermint - | 0:32:47 | 0:32:50 | |
my grandmother used to put it in a sock | 0:32:50 | 0:32:53 | |
and bang it against the wall to break it up. | 0:32:53 | 0:32:55 | |
Then you sprinkle the crushed peppermint in the whisky. | 0:32:55 | 0:32:59 | |
You can't get it down without the peppermint, | 0:32:59 | 0:33:01 | |
and I think that the beautiful writing | 0:33:01 | 0:33:03 | |
in To Kill A Mockingbird helped people get it down. | 0:33:03 | 0:33:09 | |
They might not even have known that they | 0:33:09 | 0:33:11 | |
were being fundamentally changed. | 0:33:11 | 0:33:15 | |
They were reading a great book, they were reading a book that | 0:33:15 | 0:33:19 | |
they couldn't wait to turn the next page. | 0:33:19 | 0:33:22 | |
The thing that struck me, | 0:33:22 | 0:33:24 | |
the time Harper Lee decided she wanted to be a writer, | 0:33:24 | 0:33:27 | |
there were really no very successful female | 0:33:27 | 0:33:31 | |
American novelists to look to. | 0:33:31 | 0:33:32 | |
So, that was quite an ambitious thing that she took on. | 0:33:32 | 0:33:37 | |
The fact that it was written by a woman was history-making, | 0:33:37 | 0:33:41 | |
was profound. | 0:33:41 | 0:33:43 | |
There's a power and a sensitivity in the language | 0:33:43 | 0:33:46 | |
that couldn't have come from a man. | 0:33:46 | 0:33:49 | |
In 1945, Harper Lee came here to the University of Alabama to study law. | 0:33:49 | 0:33:55 | |
It was just after the second world war, and women dominated the campus. | 0:33:55 | 0:34:00 | |
They became pioneers, breaking through the stereotype | 0:34:00 | 0:34:04 | |
of the lash-fluttering Southern belle. | 0:34:04 | 0:34:06 | |
It was in this environment that Nelle's writing career | 0:34:06 | 0:34:09 | |
began to take off. | 0:34:09 | 0:34:10 | |
Librarian Clarke Center showed me | 0:34:10 | 0:34:13 | |
some rare examples of her early work. | 0:34:13 | 0:34:16 | |
-So this is from 1946? -1946. | 0:34:16 | 0:34:19 | |
Here we have the Rammer Jammer, which was a campus humour magazine. | 0:34:19 | 0:34:24 | |
-This is the staff, and there she is. -That's hilarious. | 0:34:24 | 0:34:28 | |
Looks like the sort of thing somebody snuck in with a camera. | 0:34:28 | 0:34:31 | |
Yeah, yeah, I think she staged that. | 0:34:31 | 0:34:34 | |
-Oh, I think so. -With the cigarette in hand. | 0:34:34 | 0:34:37 | |
The harassed editor, juggling a dozen different stories. | 0:34:37 | 0:34:41 | |
And was this a, it was a satirical magazine? | 0:34:41 | 0:34:46 | |
It was a satirical magazine. This particular one | 0:34:46 | 0:34:49 | |
-has an essay by Nelle Lee. -Oh, wow. | 0:34:49 | 0:34:53 | |
You can see this time she's writing as Nelle Lee. | 0:34:53 | 0:34:56 | |
"Some writers are of our times. A very informal essay, by Nelle Lee". | 0:34:56 | 0:35:01 | |
There's an article in there that she wrote, you know, | 0:35:01 | 0:35:05 | |
writers that I have known | 0:35:05 | 0:35:07 | |
and in it she's analysed somewhat, why writers write. | 0:35:07 | 0:35:12 | |
How you write and the only way to learn to write is to write, | 0:35:12 | 0:35:16 | |
is the way she ended the article. | 0:35:16 | 0:35:17 | |
Camille Elebash was among her Rammer Jammer writing staff. | 0:35:17 | 0:35:22 | |
What did you think of Nelle when you met her? | 0:35:22 | 0:35:25 | |
Well, she was fascinating because she was so very bright. | 0:35:25 | 0:35:30 | |
She was quiet and a little bit reclusive like she is now, I think. | 0:35:30 | 0:35:35 | |
-Was she? -But she was full of conversation | 0:35:35 | 0:35:39 | |
when we were talking about the magazine | 0:35:39 | 0:35:41 | |
and what we were going to do. | 0:35:41 | 0:35:43 | |
Had a good sense of humour. | 0:35:43 | 0:35:44 | |
And there we were in a humour magazine, | 0:35:44 | 0:35:47 | |
it's a good thing we did have a good sense of humour. | 0:35:47 | 0:35:49 | |
You went to New York after here? | 0:35:49 | 0:35:52 | |
Yes, I went to New York. | 0:35:52 | 0:35:53 | |
Nelle was working for the Eastern Airlines and she stopped | 0:35:53 | 0:35:58 | |
that job and friends gave her some money, about 1,800 to live on | 0:35:58 | 0:36:05 | |
for here so she could finish a book that she was writing. | 0:36:05 | 0:36:09 | |
Little did we know it was To Kill A Mockingbird. | 0:36:09 | 0:36:12 | |
I have followed Nelle's story to New York. | 0:36:25 | 0:36:28 | |
In 1949, Harper Lee joined her fellow aspiring creatives | 0:36:32 | 0:36:37 | |
as they flocked to America's cultural hub. | 0:36:37 | 0:36:39 | |
The world's largest city. | 0:36:39 | 0:36:41 | |
She started out as a clerk in the airline industry, | 0:36:41 | 0:36:45 | |
but she had dreams of pursuing a literary career. | 0:36:45 | 0:36:48 | |
While the ambitious southerner made friends in the big city, | 0:36:50 | 0:36:53 | |
her home state of Alabama became the focus of world attention. | 0:36:53 | 0:36:58 | |
Liberal-minded Americans were demanding change. | 0:37:02 | 0:37:06 | |
They wanted an end to the Jim Crow laws that legally | 0:37:06 | 0:37:09 | |
supported racial segregation. | 0:37:09 | 0:37:11 | |
In 1954, public schools were legally obliged to integrate. | 0:37:11 | 0:37:17 | |
But legislation doesn't convert minds and black people in America | 0:37:17 | 0:37:21 | |
remained second-class citizens. | 0:37:21 | 0:37:23 | |
And then a year later in 1955, seamstress Rosa Parks was arrested | 0:37:26 | 0:37:32 | |
for refusing to give up her seat to a white passenger on a bus. | 0:37:32 | 0:37:35 | |
It sparked the Montgomery Bus Boycott. | 0:37:35 | 0:37:38 | |
Led by the Reverend Martin Luther King Jnr, | 0:37:38 | 0:37:41 | |
it was a key moment in the history of the civil rights movement. | 0:37:41 | 0:37:46 | |
Back in New York, two friends gave Harper Lee the present | 0:37:51 | 0:37:54 | |
that would change her life for ever. | 0:37:54 | 0:37:57 | |
Professional ballerina Joy Williams Brown and her husband, | 0:38:00 | 0:38:03 | |
producer and songwriter Michael Brown, | 0:38:03 | 0:38:06 | |
don't usually speak about Harper Lee, | 0:38:06 | 0:38:08 | |
but I gather she has said they can speak to me. | 0:38:08 | 0:38:10 | |
I might be 1,000 miles away, but I'm amused to still find | 0:38:13 | 0:38:16 | |
-the novelist plotting my journey. -She was a straight arrow. | 0:38:16 | 0:38:21 | |
Yes. She said what she thought. | 0:38:21 | 0:38:23 | |
If she didn't think something was good, she said that. | 0:38:23 | 0:38:28 | |
After being introduced by Truman Capote, | 0:38:28 | 0:38:30 | |
the trio became firm friends and the Browns were well aware | 0:38:30 | 0:38:34 | |
of Nelle's writing talent and ambitions. | 0:38:34 | 0:38:37 | |
Their life-changing Christmas present | 0:38:37 | 0:38:39 | |
was to finance Nelle for a whole year while she wrote her book. | 0:38:39 | 0:38:42 | |
I don't think we deserve any special praise at all. | 0:38:42 | 0:38:45 | |
It's what she would have done for me, anybody would have done it. | 0:38:45 | 0:38:48 | |
Close friends, you know? | 0:38:48 | 0:38:50 | |
The reason the book is by Harper Lee, | 0:38:50 | 0:38:52 | |
she didn't want people calling it Nelly. | 0:38:52 | 0:38:55 | |
She's not a Nelly, I can promise you. | 0:38:55 | 0:38:58 | |
How was Nelle's feeling about the civil rights movement? | 0:38:58 | 0:39:03 | |
I don't think she created the book to help the civil rights movement. | 0:39:03 | 0:39:09 | |
In fact, it was a convergence happens stance. | 0:39:09 | 0:39:13 | |
The only time I ever heard her make any kind of observation | 0:39:13 | 0:39:19 | |
was they said, if they go too quickly, it will not work. | 0:39:19 | 0:39:25 | |
When the book was published, it was an overnight success, | 0:39:25 | 0:39:29 | |
dragging Harper Lee from obscurity and thrusting both author and book | 0:39:29 | 0:39:34 | |
into the glare of international publicity. | 0:39:34 | 0:39:36 | |
In 1961, her novel won the coveted Pulitzer Prize. | 0:39:36 | 0:39:42 | |
I would rather have had her enjoy a moderate success | 0:39:42 | 0:39:47 | |
and then we would have seen another book and maybe another after that, | 0:39:47 | 0:39:51 | |
but this was a show-stopper. | 0:39:51 | 0:39:53 | |
What could she possibly do? | 0:39:53 | 0:39:56 | |
She did all the interviews that she was asked to do. | 0:39:56 | 0:40:01 | |
And then she said, "That's enough. No more." | 0:40:01 | 0:40:05 | |
Many, many, many years ago they put up | 0:40:05 | 0:40:08 | |
the outside of... | 0:40:08 | 0:40:10 | |
"You are now entering Monroeville. | 0:40:10 | 0:40:12 | |
"Home of the author of To Kill A Mockingbird". | 0:40:12 | 0:40:15 | |
And she called up the Mayor and she said, | 0:40:15 | 0:40:17 | |
"You take those signs down. Right now." | 0:40:17 | 0:40:21 | |
She hates all of that. | 0:40:21 | 0:40:22 | |
Maybe the reason she never wrote another book | 0:40:25 | 0:40:27 | |
or publicly comments on the novel is because she doesn't like the fuss. | 0:40:27 | 0:40:31 | |
I've worked out that the apartment block where Harper lived | 0:40:40 | 0:40:43 | |
when she wrote To Kill A Mockingbird | 0:40:43 | 0:40:45 | |
should be at this address. | 0:40:45 | 0:40:47 | |
This is a new building, it's obviously not here. | 0:40:47 | 0:40:49 | |
We've lost it. | 0:40:49 | 0:40:51 | |
Could she have imagined that her book | 0:40:51 | 0:40:53 | |
would become an instant best seller? | 0:40:53 | 0:40:56 | |
Initially, they printed a few thousand copies, | 0:40:56 | 0:40:58 | |
but in the first year it sold half a million. | 0:40:58 | 0:41:01 | |
The book hit the shelves in a pivotal year | 0:41:07 | 0:41:09 | |
for the civil rights movement. | 0:41:09 | 0:41:12 | |
In 1960, protests and riots erupted across its major cities. | 0:41:12 | 0:41:18 | |
I'm back in the South, the crucible of the civil rights movement | 0:41:24 | 0:41:28 | |
to meet Elaine Turner, a prominent civil rights campaigner. | 0:41:28 | 0:41:32 | |
1960 was my awakening into the movement. | 0:41:32 | 0:41:39 | |
And to change. That's when the walls of segregation | 0:41:39 | 0:41:45 | |
began to be challenged. | 0:41:45 | 0:41:48 | |
I remember checking out To Kill A Mockingbird. | 0:41:48 | 0:41:51 | |
-Do you? -And reading that book. | 0:41:51 | 0:41:52 | |
It was a flashback to me. | 0:41:52 | 0:41:55 | |
Because, I guess a very traumatic time | 0:41:55 | 0:42:00 | |
for me was 1955 | 0:42:00 | 0:42:03 | |
when I heard about the murder of Emmett Till. | 0:42:03 | 0:42:07 | |
A 14-year-old-boy who was brutally, brutally murdered | 0:42:09 | 0:42:15 | |
because he whistled at a white woman. | 0:42:15 | 0:42:18 | |
I remember in 1955 I was so frightened, you know? | 0:42:18 | 0:42:23 | |
I could not sleep at night. | 0:42:23 | 0:42:26 | |
The mother of the murdered boy allowed the world's press | 0:42:26 | 0:42:30 | |
into her son's funeral so images of his battered body | 0:42:30 | 0:42:33 | |
lying in an open casket could be shown around the globe. | 0:42:33 | 0:42:38 | |
This story reverberated across America, right at the time | 0:42:38 | 0:42:42 | |
Harper Lee was writing her novel. | 0:42:42 | 0:42:45 | |
Whether or not it was her intention, in 1960 it struck a chord with those | 0:42:45 | 0:42:49 | |
who were challenging the status quo. | 0:42:49 | 0:42:52 | |
Over the next few years, | 0:42:54 | 0:42:55 | |
the civil rights movement gained momentum | 0:42:55 | 0:42:58 | |
and the book sold millions. | 0:42:58 | 0:43:00 | |
In 1968, the conflict came to a head. | 0:43:01 | 0:43:04 | |
Martin Luther King was shot dead. | 0:43:06 | 0:43:09 | |
The civil rights movement lost a great leader, | 0:43:14 | 0:43:17 | |
but in the same year segregation was outlawed. | 0:43:17 | 0:43:20 | |
"You know the truth and the truth is this | 0:43:24 | 0:43:26 | |
"Some negroes lie, some negroes are immoral. | 0:43:26 | 0:43:31 | |
"Some negro men are not to be trusted around women, black or white. | 0:43:31 | 0:43:36 | |
"But this is a truth that applies to the human race | 0:43:36 | 0:43:39 | |
"and to no particular race of man". | 0:43:39 | 0:43:42 | |
I've got to grips with the genesis of the book | 0:43:47 | 0:43:50 | |
and the reasons for its unparalleled success. | 0:43:50 | 0:43:52 | |
And I'm heading back to Monroeville with a deeper insight | 0:43:52 | 0:43:55 | |
into the world of To kill A Mockingbird. | 0:43:55 | 0:43:57 | |
The South is full of seeming contradictions. | 0:43:57 | 0:44:01 | |
The friendliness of people is just staggering when you get here. | 0:44:01 | 0:44:04 | |
But then that contrast and seems to contradict this quite violent, | 0:44:06 | 0:44:10 | |
often fairly nasty history. | 0:44:10 | 0:44:15 | |
The odd thing and interesting thing about that | 0:44:15 | 0:44:18 | |
and the thing I'll take away from that is | 0:44:18 | 0:44:20 | |
that where you get that great negativity, | 0:44:20 | 0:44:24 | |
people rise to meet it and so you see the worst of people | 0:44:24 | 0:44:27 | |
and the best people at the same time. | 0:44:27 | 0:44:29 | |
It's clear to me now that To Kill A Mockingbird | 0:44:29 | 0:44:32 | |
could only have come from here. | 0:44:32 | 0:44:34 | |
Those contradictions and ambiguities are the beating heart | 0:44:34 | 0:44:38 | |
of the book which refuses to sanction stereotypes | 0:44:38 | 0:44:41 | |
or easy judgment. | 0:44:41 | 0:44:42 | |
Quite by chance, I've just seen something incredible | 0:44:45 | 0:44:47 | |
on the side of the road. | 0:44:47 | 0:44:50 | |
The first place races mixed as equals after segregation | 0:44:50 | 0:44:53 | |
was in the music industry. | 0:44:53 | 0:44:56 | |
At the region's recording studios | 0:44:56 | 0:44:59 | |
and radio stations, black and white artists were free to work together. | 0:44:59 | 0:45:03 | |
This crumbling building opened its doors | 0:45:05 | 0:45:07 | |
to the likes of Aretha Franklin, Elvis and the Rolling Stones. | 0:45:07 | 0:45:11 | |
It's legendary. | 0:45:11 | 0:45:13 | |
I can't believe there's no marking on it. | 0:45:13 | 0:45:15 | |
There's no blue plaque or anything. | 0:45:15 | 0:45:17 | |
Not good. I think it really is empty. | 0:45:26 | 0:45:28 | |
Here's a couple of barbecues. | 0:45:28 | 0:45:31 | |
I wonder if it's from the studio days | 0:45:31 | 0:45:33 | |
or whether someone just uses it as a recreation area now? | 0:45:33 | 0:45:36 | |
Well, times move on and no-one really | 0:45:38 | 0:45:40 | |
uses studios like this any more. | 0:45:40 | 0:45:41 | |
-Hello! -What's up, man? | 0:45:43 | 0:45:46 | |
-Sorry, have I woken you up? I'm really sorry. -No, come on in. | 0:45:46 | 0:45:49 | |
What I thought was a shack, is a fully working recording studio. | 0:45:49 | 0:45:53 | |
Are these people who have worked here? | 0:45:53 | 0:45:55 | |
-Yes. -Wow. 'I'm passionate about the music of the South | 0:45:55 | 0:45:58 | |
'and its influence on the world.' | 0:45:58 | 0:46:00 | |
It's such an unexpected treat. | 0:46:00 | 0:46:02 | |
MUSIC PLAYS | 0:46:02 | 0:46:03 | |
It's a reminder that culture is often at the vanguard of change. | 0:46:03 | 0:46:08 | |
# While I'm away from you | 0:46:09 | 0:46:16 | |
# O-oh, baby | 0:46:17 | 0:46:20 | |
# I know it's hard for you... # | 0:46:21 | 0:46:29 | |
40 years after the end of segregation, | 0:46:29 | 0:46:31 | |
and America has seen a lot of change. | 0:46:31 | 0:46:34 | |
It's been a long time coming. | 0:46:34 | 0:46:36 | |
But tonight, | 0:46:36 | 0:46:38 | |
because of what we did on this day, in this election, | 0:46:38 | 0:46:43 | |
at this defining moment, change has come to America. | 0:46:43 | 0:46:48 | |
Today, with a black president in the White House, | 0:46:51 | 0:46:54 | |
I find myself wondering whether To Kill A Mockingbird | 0:46:54 | 0:46:57 | |
is still relevant. | 0:46:57 | 0:46:58 | |
Does it have anything left to say? | 0:46:58 | 0:47:00 | |
I'm back in Monroeville, where Cedric and Leshannon Hollinger | 0:47:04 | 0:47:08 | |
have offered me a bed for the night. | 0:47:08 | 0:47:10 | |
-Hi. You must be Ashley? -Yes. -OK, nice to meet you. | 0:47:10 | 0:47:15 | |
Their teenage daughter Ashley is studying | 0:47:15 | 0:47:18 | |
To Kill A Mockingbird at school. | 0:47:18 | 0:47:20 | |
There's a black president now. | 0:47:20 | 0:47:23 | |
And when you read it, did it seem to you like something that was | 0:47:23 | 0:47:26 | |
dealing with important stuff and it was still relevant to now? | 0:47:26 | 0:47:31 | |
In Monroeville it's still relevant. | 0:47:31 | 0:47:33 | |
Because, still back then it wasn't as, it was as open | 0:47:35 | 0:47:38 | |
but now it's not that open. | 0:47:38 | 0:47:41 | |
But you still can sense it, some people still can sense | 0:47:41 | 0:47:43 | |
that there is a little racism still in Monroeville. There is. | 0:47:43 | 0:47:48 | |
-Sure. -There is. -Right. | 0:47:48 | 0:47:50 | |
You know, for us today there's racism out there, yes. | 0:47:50 | 0:47:54 | |
Racism, white on black and black on white, you know? | 0:47:54 | 0:47:59 | |
It's still out there, but, you know, | 0:47:59 | 0:48:01 | |
we just have to deal with people the way they treat us. | 0:48:01 | 0:48:06 | |
Black and white kids, they play together all the time. | 0:48:06 | 0:48:08 | |
They don't know one from the other until grown-ups start teaching them. | 0:48:08 | 0:48:12 | |
I'm not surprised to find racism here, | 0:48:12 | 0:48:15 | |
but I am confused and disturbed | 0:48:15 | 0:48:17 | |
by the amount of segregation that stills shapes this society. | 0:48:17 | 0:48:21 | |
The family say that city schools are nearly all black | 0:48:21 | 0:48:25 | |
and the schools in the suburbs are predominantly white. | 0:48:25 | 0:48:29 | |
They live in a black neighbourhood and Leshannon says | 0:48:29 | 0:48:31 | |
that most black families wouldn't dream of having a white man | 0:48:31 | 0:48:34 | |
to stay in their house for the night. | 0:48:34 | 0:48:37 | |
I feel frustrated and uneasy about these divisions, but maybe people | 0:48:37 | 0:48:41 | |
know their place and that's just the way they like it. | 0:48:41 | 0:48:44 | |
In terms of the book, this knowing your place | 0:48:46 | 0:48:48 | |
and not crossing the lines, | 0:48:48 | 0:48:50 | |
plays out quite interestingly because there are a lot of examples | 0:48:50 | 0:48:53 | |
of people getting into trouble when they do cross the line. | 0:48:53 | 0:48:56 | |
Tom Robinson crossing the line on to the Ewell property | 0:48:56 | 0:48:59 | |
to help Mayella gets him into, well, it ultimately costs him his life. | 0:48:59 | 0:49:04 | |
And then, of course, the big one is the Radley property | 0:49:04 | 0:49:07 | |
where there's a very clear line and you cross that, | 0:49:07 | 0:49:10 | |
you get into all kinds of horror | 0:49:10 | 0:49:12 | |
and in fact, that one turns out to be an illusion, doesn't it? | 0:49:12 | 0:49:15 | |
So, they could always have crossed that line. | 0:49:15 | 0:49:18 | |
Harper Lee is, in a subtle way, suggesting that maybe | 0:49:18 | 0:49:21 | |
all these lines which provide the whole structure of this place | 0:49:21 | 0:49:25 | |
are lines that could be crossed and are illusions. | 0:49:25 | 0:49:27 | |
Ashley, you're not a morning person, | 0:49:32 | 0:49:34 | |
are these cameras annoying you? | 0:49:34 | 0:49:36 | |
-LAUGHS -I thought so! I'm really sorry. | 0:49:36 | 0:49:39 | |
I'm just getting ready to go to church. | 0:49:41 | 0:49:44 | |
It's embarrassing, I haven't brought any correct clothes, | 0:49:44 | 0:49:47 | |
I haven't got a suit so I'm just cobbling together | 0:49:47 | 0:49:50 | |
something that's vaguely respectable. | 0:49:50 | 0:49:52 | |
It's so much like what happened in the book, | 0:49:52 | 0:49:56 | |
when Calpurnia takes Scout and Jem to her church, | 0:49:56 | 0:49:58 | |
which is a black church. | 0:49:58 | 0:50:00 | |
It's nothing like theirs, everything's done differently, | 0:50:00 | 0:50:03 | |
and I'm wondering if it's still like that. | 0:50:03 | 0:50:06 | |
-Hi. -Time to go? -We're ready. -OK, great. | 0:50:07 | 0:50:10 | |
SINGING | 0:50:18 | 0:50:20 | |
# Born of his spirit washed in his blood | 0:50:25 | 0:50:32 | |
# This is my story this is my song... # | 0:50:32 | 0:50:39 | |
And one who feared God | 0:50:39 | 0:50:43 | |
and shunned evil, he stayed away from it. | 0:50:43 | 0:50:47 | |
The Bible tells us to stay away from the very appearance of evil. | 0:50:47 | 0:50:53 | |
I haven't been to a service like this before, | 0:50:54 | 0:50:57 | |
but to my surprise I've enjoyed it. | 0:50:57 | 0:50:59 | |
It's challenged my preconceptions. | 0:50:59 | 0:51:02 | |
It occurs to me that not knowing how other people live their lives | 0:51:02 | 0:51:05 | |
is the beginning of misunderstanding, | 0:51:05 | 0:51:07 | |
which is what Harper Lee is telling us - | 0:51:07 | 0:51:10 | |
to get under other people's skin. | 0:51:10 | 0:51:12 | |
I think my favourite strand in the novel | 0:51:22 | 0:51:25 | |
is the story about the strange and reclusive Boo Radley. | 0:51:25 | 0:51:28 | |
Like Harper Lee herself, he is enigmatic | 0:51:28 | 0:51:32 | |
and the subject of much colourful, but groundless rumour. | 0:51:32 | 0:51:35 | |
To Kill A Mockingbird challenges our habit of prejudging people, | 0:51:40 | 0:51:43 | |
and it lays bare the courage needed | 0:51:43 | 0:51:46 | |
to reject prevailing opinion in favour of real understanding. | 0:51:46 | 0:51:50 | |
"I wanted you to see what real courage is, instead of getting | 0:51:56 | 0:52:00 | |
"the idea that courage is a man with a gun in his hand. | 0:52:00 | 0:52:03 | |
"It's when you know you're licked before you begin, | 0:52:03 | 0:52:05 | |
"but you begin anyway and you see it through, no matter what." | 0:52:05 | 0:52:10 | |
If this is a book about standing up to intolerance, | 0:52:14 | 0:52:18 | |
then I suspect it may be more relevant today than ever. | 0:52:18 | 0:52:21 | |
One man who knows all about this is lawyer Morris Dees. | 0:52:21 | 0:52:26 | |
Morris specialises in crippling | 0:52:26 | 0:52:28 | |
some of America's most notorious hate groups. | 0:52:28 | 0:52:32 | |
Hi, I've come to see Morris. | 0:52:32 | 0:52:34 | |
For Morris, this is a very current problem indeed. | 0:52:34 | 0:52:38 | |
Could he be a real-life Atticus Finch? | 0:52:38 | 0:52:42 | |
Judging by the security, this man hasn't made a lot of friends. | 0:52:44 | 0:52:48 | |
Because of the people that we file lawsuits against, neo-Nazi groups, | 0:52:48 | 0:52:52 | |
the Klan and others, they don't take that likely, so they burned our | 0:52:52 | 0:52:56 | |
building in 1983 and there are over 30 people that are in prison today | 0:52:56 | 0:53:01 | |
for trying to kill me or harm this building or harm our people here. | 0:53:01 | 0:53:05 | |
What had made you want to become a civil rights lawyer? | 0:53:05 | 0:53:09 | |
I grew up on a small cotton farm, my people were poor. | 0:53:09 | 0:53:12 | |
I had two uncles who were in the Ku Klux Klan, | 0:53:12 | 0:53:14 | |
but my dad wasn't, my dad was very open and fair to black people. | 0:53:14 | 0:53:19 | |
In fact the book, To Kill A Mockingbird, | 0:53:19 | 0:53:23 | |
caused me to go into civil rights work, for sure. | 0:53:23 | 0:53:26 | |
There have been critiques done of To Kill A Mockingbird | 0:53:26 | 0:53:30 | |
by people saying that really it's a racist book, that Atticus Finch | 0:53:30 | 0:53:36 | |
didn't do everything he could have done to defend this guy. | 0:53:36 | 0:53:39 | |
I know it's fiction, but the bottom line is, | 0:53:39 | 0:53:42 | |
for him to take the stand he took at the time, | 0:53:42 | 0:53:45 | |
was extremely important. | 0:53:45 | 0:53:47 | |
Morris Dees' organisation has compiled a hate map | 0:53:47 | 0:53:50 | |
which pinpoints 932 of the worst offenders | 0:53:50 | 0:53:53 | |
right across the United States. | 0:53:53 | 0:53:56 | |
In the last 10 years, we have seen a doubling | 0:53:56 | 0:53:58 | |
in the number of hate groups in the country, and we think | 0:53:58 | 0:54:01 | |
all that's attributable to the Latino migration in America, | 0:54:01 | 0:54:05 | |
it's attributed to to Obama being president, and the economy. | 0:54:05 | 0:54:10 | |
By the year 2040, people like myself, | 0:54:10 | 0:54:12 | |
Anglo-whites in this country are going to be in a minority. | 0:54:12 | 0:54:15 | |
-121 are black hate groups? -Right. | 0:54:15 | 0:54:18 | |
Well, that's the black separatist groups, | 0:54:18 | 0:54:21 | |
the Nation Of Islam is one, their language is no different than | 0:54:21 | 0:54:26 | |
the language of a Nazi group or hate group or Klan group. | 0:54:26 | 0:54:29 | |
What you're saying is that your work has broadened from | 0:54:29 | 0:54:33 | |
civil rights for African-Americans to a whole range of things. | 0:54:33 | 0:54:36 | |
Well, you know, there's probably a bias everywhere in the world | 0:54:36 | 0:54:40 | |
against people who are different. | 0:54:40 | 0:54:42 | |
We find in America today that the most homophobic people | 0:54:42 | 0:54:46 | |
are African-Americans, it is in their culture. | 0:54:46 | 0:54:48 | |
But it's one thing to fight hate in court. | 0:54:48 | 0:54:51 | |
It makes you feel good, you put the Klan out of business, | 0:54:51 | 0:54:54 | |
You put the neo-Nazis out of business, you take their property. | 0:54:54 | 0:54:57 | |
But it's just as important to teach tolerance | 0:54:57 | 0:54:59 | |
and acceptance in the classroom over a whole range of subjects. | 0:54:59 | 0:55:03 | |
"Atticus was right. | 0:55:03 | 0:55:06 | |
"One time he said you never really know man | 0:55:06 | 0:55:08 | |
"until you stand in his shoes and walk around in them. | 0:55:08 | 0:55:13 | |
"Just standing on the Radley porch was enough." | 0:55:13 | 0:55:17 | |
I've stood in the shoes of Harper Lee and To Kill A Mockingbird | 0:55:27 | 0:55:31 | |
and walked around in them. | 0:55:31 | 0:55:32 | |
And this classic novel now appears, to me, as a kind of love letter | 0:55:32 | 0:55:37 | |
to and from the South, a gentle plea for tolerance. | 0:55:37 | 0:55:41 | |
Which seems a simple enough idea, doesn't it? | 0:55:41 | 0:55:45 | |
But perhaps, in truth, it's so radical that, | 0:55:45 | 0:55:47 | |
50 years after it was written, | 0:55:47 | 0:55:50 | |
it has as much to say as it ever did. | 0:55:50 | 0:55:53 | |
I've been writing about my observations of the South | 0:55:53 | 0:55:56 | |
for the Monroe Journal. | 0:55:56 | 0:55:57 | |
As promised, George gets my article published. | 0:55:57 | 0:56:01 | |
I wanted to share those experiences with the people who kick-started | 0:56:04 | 0:56:07 | |
my journey, so I've organised a small party to return | 0:56:07 | 0:56:11 | |
a little of that Southern hospitality. | 0:56:11 | 0:56:14 | |
And I've invited Harper Lee. | 0:56:14 | 0:56:17 | |
Perhaps it's time for her to come out of hiding. | 0:56:17 | 0:56:20 | |
Once again, the weather isn't on my side, | 0:56:20 | 0:56:24 | |
and at the last minute I'm having to move the party | 0:56:24 | 0:56:27 | |
from the court house lawn to a bookshop cafe. | 0:56:27 | 0:56:29 | |
-Hi, how are you? -Hey, I'm really good thanks, you? | 0:56:34 | 0:56:38 | |
Let me just get the drinks. | 0:56:38 | 0:56:40 | |
Here you go, Miss Alice. | 0:56:42 | 0:56:44 | |
-Caramel cake... -Gorgeous. | 0:56:44 | 0:56:47 | |
There's no sign of Harper Lee, but a strange thing happens. | 0:56:47 | 0:56:52 | |
Half an hour in, a woman cuts a slice of cake | 0:56:52 | 0:56:55 | |
and disappears up the road with it. | 0:56:55 | 0:56:57 | |
I'm told, it's for Nelle, that she's at home, reading my book. | 0:56:57 | 0:57:02 | |
I still wonder why she removed herself from public life. | 0:57:04 | 0:57:07 | |
Perhaps she finds the trappings of fame intrusive and distracting, | 0:57:07 | 0:57:12 | |
or perhaps it's simply because, as she is quoted as saying herself, | 0:57:12 | 0:57:16 | |
"I said what I had to say, why say more?" | 0:57:16 | 0:57:20 | |
From a distance, it looks as though this | 0:57:22 | 0:57:25 | |
is a book about racism and about segregation and discrimination. | 0:57:25 | 0:57:30 | |
But what I now actually feel having spent time where it was written | 0:57:30 | 0:57:33 | |
is that it's not about those things. | 0:57:33 | 0:57:36 | |
What Harper Lee has actually done, | 0:57:36 | 0:57:37 | |
is use those things to write a treatise on humanity | 0:57:37 | 0:57:44 | |
and the power of tolerance, of generosity of spirit. | 0:57:44 | 0:57:49 | |
Things which arguably are in shorter supply now | 0:57:49 | 0:57:52 | |
than they have ever been before. | 0:57:52 | 0:57:54 | |
Making this more important than it ever was. | 0:57:54 | 0:57:58 | |
The fact that it's so beautifully written and it's so funny | 0:57:58 | 0:58:02 | |
is just a great bonus. | 0:58:02 | 0:58:05 | |
I think this book is timeless. | 0:58:05 | 0:58:08 | |
"Mockingbirds don't do one thing, but make music for us to enjoy. | 0:58:13 | 0:58:18 | |
"They don't eat up people's gardens, don't nest in corn cribs, | 0:58:18 | 0:58:23 | |
"they don't do one thing, but sing their hearts out for us. | 0:58:23 | 0:58:27 | |
"That's why it's a sin to kill a Mockingbird." | 0:58:27 | 0:58:32 | |
Subtitles by Red Bee Media Ltd | 0:58:47 | 0:58:50 | |
E-mail [email protected] | 0:58:50 | 0:58:53 |