Showing posts with label Joan and Clay Blair. Show all posts
Showing posts with label Joan and Clay Blair. Show all posts

Thursday, August 4, 2011

BLAIR INTERVIEW - PART VI

Typical Blair worksheets assembled for book on German U-boat
warfare in the Atlantic in WWII show
patrols, boats, skippers and particular operations.

WASHINGTON ISLAND, WISCONSIN -

Notes:   This interview segment, Part VI, is about the Blairs tackling the autobiography of General Omar Bradley, and how that work led into two other, related Army books about the Korean War and Gen. Ridgway.  Then they took on an even bigger, more challenging project about German U-boats in WWII, using newly declassified German logbooks and records.   
There will be one (maybe two) more installment of this 1994 interview yet to follow.  -  DP




BLAIR INTERVIEW - PART VI
Q – About that time (about 1978) you moved to the island, then, right?  

Clay -  Then we moved from Malibu back to Miami. 

Joan -  But that’s when we bought the cottage up here, in the middle of all this.   But we’d been coming to the island in the summers all through the years.

Clay – We got married in 1972.

Q – I never asked, did you take vacations? You were working almost continually.

Joan – We almost never had a vacation. 

Clay -  Yeah.  That’s my fault, I think.

But we had very heavy...all this time…

Joan – We had to work like mad. 

Clay - When I got divorced, I gave everything there was to my wife and kids. I left with my books, and the piano, and the third car - the worst car, in other words.   And the alimony went forward from there, and we felt that was our first call in our lives, for years.   So all during this time, we scrambled financially to meet that huge obligation, and also live ourselves and conduct our business.   Tough.

So that’s one reason we’re working all the time. 

Then we did the Bradley book.  Do you know who Omar Bradley was? 
  
I knew him in the Pentagon.  Remember when I said I was in the Pentagon, when I was a young Times guy?  He was Chairman of the Joint Chiefs of Staff at that time, and the way this all worked, you would see him from time to time on an off-the-record basis.   So I had got to know him when he was Chairman of the Joint Chiefs.    And, I admired him a great deal. 

We got a call from Simon Schuster.   Bradley was trying to write his memoirs…

Joan -   Again.
Clay -  Again.  

And it wasn’t working out.  Simon Schuster wanted to publish it, but they needed a writer, and so, I renewed my acquaintance with Bradley in Ft. Worth, Texas.   Our chemistry was good.

Q – Was he still in the service when you interviewed him? 

Clay -  Oh, no.  He’s eighty years old, he’s long since retired, living in Ft. Worth.   And I write this book.  He was a brilliant mathematician, at science, he was very strong  at math, but very weak in liberal arts or writing.  He couldn’t write a letter, really.  And so we plunk in there.  This was a big project.  Big money.  Big responsibility.  Big everything.   Research.  An enormous amount of time.  I’m trying to remember how much.  Probably three years.  Lot of work.

Q -  Did he have a fair amount of things assembled?  He died in the middle of this, didn’t he?

Clay -  Right.  They did not have a lot of stuff assembled, but we could acquire it very quickly.   He was a five-star general, and you know you never retire if you’re five stars.  You’re still on active duty and give orders.  And so all you do is call on him and say, “I need so-and-so,” and his staff would request it for us, and then we’d get the stuff.   Plus, then we also got all his papers, his personal papers.  This is a very complex process. 

Joan -  We spent several weeks out there at Ft. Worth, talking with him, every single day, all day long.  Oh Lord!  How many tapes of him do we have?   Hundreds of hours. 

Clay -  It was a ritualized thing.   We worked all day.   We wrote the book, and he died in the middle, but we went ahead with it anyway. 

This book was a Book of the Month Club main selection, sold very well.   And, it was a trade paperback.   It’s still in print. 

We fell back into our ‘history mode’ that we developed in the Kennedy book.  We turned that button on, did very serious research in army archives and papers, other papers, oral history – all of that.   ‘Cause he’d forgotten everything.

Q – But you’re writing it all from his viewpoint?

Clay -  Oh, yes.

Joan -  We interviewed everybody who knew him, like Maxwell Taylor, General Ridgeway, Galvin.    Everybody, all the way back.

Clay – We tramped around in the Missouri woods where he grew up.   He had his whole family screwed up, the sequence of grandfathers, he had the wrong grandfather, all that, we sorted that out…in the census records.  It was a nightmare.  I mean it was not a nightmare.  It was totally fascinating.

Joan -  That’s the best part, is when you get to do all that, go around and do research and unearth these things and talk to these people.   I love that. 

Clay -  He was a premiere figure. 

Joan -  He was a wonderful guy, he really was.   He had this dry sense of humor.  He had a couple little jokes that he always liked to tell.   And he spoke to the master sergeants school out at Ft. Bliss, every once a month or so he would address them, and we went to one of those.   And it happened it was his birthday, his 88th birthday.   Mrs. Bradley had this big dinner party that we attended.   

We were with him day and night for weeks and weeks.  He was just darling.  He was the nicest, most wonderful person.         

Q -   When you are working with someone as you did, where did you stay?

Clay -  We were in the VIP quarters a block away, nearby.  He was in his quarters, we were in ours. 
 
Q -  The process of obtaining documents and doing interviews, are you gaining information for future books, maybe not consciously, but was it happening?

Clay -  Yes, in a way.  As it turned out, yes.   

One little side thing we did, we became interested in the role of the code breaker, as they would supply Bradley with information.  So we interviewed not the code breakers, but the people who were attached to each army, under Bradley, the army corps, who got this code breaking information and briefed the generals every morning on what the generals were (to do) each morning.   So we got very interested in those people. We interviewed all of them in the course of researching Bradley, with the idea we were going to do a book about that, and those people.  But, we didn’t ever do that.
  
So we were doing all kinds of things.  Then we interviewed Ridgway, whom I’d also known at the Pentagon when he was Chief of Staff of the army, actually before that, when he was Deputy Chief of Staff.    The idea struck us of doing a book on him, which grew out of the interview with him.   We realized, here was another great figure.  
 
So, yes, in that sense, this became a breeding ground, so-to-speak, for ideas for other books.   But principally, the Ridgway book.  

Joan -  THE Ridgway book.   When it started out, it was going to be a biography of Ridgway, but when we got into it, we realized there really wasn’t a very good book about the airborne operations in WWII, so that’s when we really got into the airborne.
  
Clay -  That became Ridgway’s Paratroopers, the whole American airborne in WWII, with him as the centerpiece.   

Joan -  But then, we had the rest of his career.  His greatest achievement was in Korea.   But that didn’t fit in the airborne book, so then, that’s how The Forgotten War came about.  

Clay -  It was really kind of continuation of the Ridgway story, which was an outgrowth of the Bradley story.    This is why we call these “the three army books.”  Because, as you’ve suggested, they were all of a piece, really, because Bradley and Ridgway were contemporaries, Galvin and all these people, and so we were interviewing army people for years.  

Q -  The Bradley book had a lot of minute information about troops, and later, the Korean war book was even more so.    How can you keep the dates and times separated?

Clay -  I’ll put it this way.  In the Bradley book, we kept the action at Division level.  We talked about divisions doing this and that.   In the Ridgway’s Paratroopers, which came next, then we went to battalion level with the airborne people, and that book is written at the battalion level, you might say.   In other words, we pick a battalion,  and there are nine battalions in a division.   In the Korean War, we stayed at the battalion level.   And the basic organizing principle for the Korean War was that it fell at the battalion level.   So that’s how we got the detail.

We first did that with Ridgway’s Paratroopers.  We don’t think of the battalion level as being of much detail, but it is, of course.  

Joan -  We don’t think of it as being detailed as to army units, because the divisions are big. 
        
Clay -  Yeah, they’re huge. We had sixty of them over there in Europe.   We didn’t deal with all of them, but we dealt with a lot them at that level.  I don’t think we did any battalion stuff in Bradley.
When we started with that Ridgway book, we were going with an airborne book.

Q -  Now we’re approaching the current book.

Joan – No, it was those three army books, and then the U-Boat book.  (laughs)
O, God!

Clay -   We started…  when we finished Silent Victory, the history of American submarine warfare against Japan.  People said, “Now, why don’t you do the German submarine war, because that’s equally of interest.” 

But you couldn’t do the book at that time, in 1975, because the documents had not been released.   U-boat patrol reports - this, that and the other – nothing was released because of the code threat, large use of code used in defeating the Germans.   It was still secret.  And we knew this.   Because as I think we told you earlier, we had revealed for the first time the use of Japanese code breaking in our submarine war.

Q -  It was still being kept secret by the Germans?

Clay -  No, no.  By British and Americans.  Everybody involved, assigned, never talked about it.  Nobody ever did.   Then this British air force guy published a book called “ --?-- Secret” in 1974 or ’75 and that blew the lid off, and he told about breaking the German code. 

Joan – But it was still classified.  They would declassify one teeny little thing a year.  It was ridiculous.  There’s still stuff in England they wouldn’t let us see.   They said it was classified. 
 
Clay -  Anyway, it was not possible to do this story in 1975, but it became possible to do it in 1987 because of the raft of memoirs that came out of that code breaking, and the Anglo-American agreement not to ever say anything was revised.  Both sides started releasing all documents ever concerned with code breaking during the entire war, like millions of papers - mostly by us (Americans).

So in 1987 it was now possible to do this book right. 

Q -  You started in ‘87, or were you still finishing something else?

Joan -  We started after The Forgotten War was published.

Clay -  We were in London.  We finished it (Forgotten War).  We segued right into the … 
Actually, we had already started in these interims … during the copy editing, the legal and all of that.   In those gaps we had started, plus the fact I had been accumulating books on the German U-boats for years.   So we didn’t exactly start.    I knew about it, the German U-boat war, not as much as I needed to know, but a lot.   I didn’t know much about code breaking, except that it was done.   It was a major factor in defeating the U-boats. 

Q -  This became the longest, the lengthiest process for you?  And most involved?

Joan and Clay -  Oh, yes.
Clay – There’s so many boats, and the war was so long.
 
See, their war was 28 months longer than our war.   So we had something like 2 ½ years of war to write about.   Plus a bunch of U-boats.

Q  -  Let me show you this, from March of 1993, a column from the Milwaukee Journal, and the headline is, “U-boats Struck Terror in the Hearts of Allies.”   It goes on to talk about the “wolf pack.”

Clay -  For goodness sake!  I never saw this.  

Oh yeah.  Drum Beat.  This guy, see … either a Florida State or Florida University professor wrote a book called, Drum Beat a couple or three years ago, in which he took…  

When the Germans attacked our east coast by U-boat, he took one boat which made two patrols to our east coast, and wrote a book about it, called Drum Beat.  The skipper of that boat is still alive, and he came over here, and the publisher did a PR tour.   They went everywhere.  And there were write-ups like this in the Washington Post, the New York Times, everywhere.  I assume that’s what this is from. 

Q – He’s now giving an overview of what (happened) 50 years in the Milwaukee Journal Greensheet article.  The reason I kept this was…the article plays up the psychological value of the wolf pack, the terror.

Clay -  Well, look at the headline they’re printing 50 years later.  That’s probably true.   This is not what I thought it was.  I’d like to read this.   Gannon and the U-boat skipper went on this huge tour.  

(break)    (tape has large empty hole with nothing recorded for quite a time, then picks up again)
***
Clay -  That quote is used by everybody, who wants to set up the U-boat as this big threat, and there are several other quotes similar.   It may be the only thing that ever frightened them during the war, but maybe he began to believe his own propaganda.

Surely, the German bomber offensive against London and Birmingham, Liverpool and Coventry, and all of those places, the blimps - that surely must have frightened him.   It was in our interest, our navy’s interest, to blow up this threat, so that we would have forces, the American people for the navy, for the huge shipbuilding program we were involved in.  Everybody. 

If you said, “Hey, that’s a bunch of baloney.  These U-boats aren’t really doing any harm,” that would take the service out of a hell of a lot of people, say in Sturgeon Bay, where they were building destroyer escorts, the Kaiser shipyard in California that were building liberty ships.

Q – Bottom line, what did they (U-boats) actually do as far as damage? 

Clay -  They actually sank 2800 ships, a lot of ships, 14 million tons.  This is over a period of almost six years.  But to give you an idea, during the same period of time we alone built 6000 ships of 42 million tons.  That’s just us.  The British built a million tons a year.   But the bottom line is, 95% of all ships embarked got through. 

We just finished … I added little thing on the last chapter, we were talking about…
 “In 1944, out of 14,000 sailings, the Germans sank 100 ships. “

Joan, do we have the last page of Chapter 20 anywhere here?  
That’s in 1944.  They sank more ships in ‘43, of course.  Sank almost no ships in ’45, sank a lot of ships in 1942, off our coast.  They sank 600 ships. 

Q – The Germans had the realization this was a propaganda weapon as well as a military tool?

Clay -  Oh, yeah.  All the German U-boats were great heroes in Germany, much publicized.

Q - Pulling up to the coastline of the U.S. must have struck terror into the citizens of those cities when they had a sinking?

Clay -  It did.  I think the U-boat as a terror weapon was unsurpassed. 
(Joan finds copy sheet and Clay reads from the last chapter of book….)

    “In all of 1944, U-boats sank only 13 ships of the 14,852 ships which sailed in 266 convoys.”

Clay -  I mean, we’re talking about 13 ships! 

Q -  All of this was considered the height of the U-boat activity, or is it on the wane? 

Clay -  Actually, I’d have to say it was on the wane in 1944.   We had totally beaten the Type 7, Type 9 boats that constituted the main thrust of their force.

Q –  Beaten them with sonar? 

  Clay – Everywhere.  Radar, particularly, airborne radar.  Sonar, of course.   Homing torpedoes, dropped from airplanes.   Depth charges made out of torpex (torpedo explosive), a highly powerful explosive.  HFDF ranked with radar, that is, high frequency direction finding.  When U-boats would spot a convoy, one of them would start a beacon so that the others could come to form a wolf pack, but we devised direction finding devices on board our ships, escorts, and we could pick up those transmissions, run out the bearing and sink the boat to prevent sinking by the wolf pack.  HFDF was really very important.  And, code breaking. 

Q – Your primary point of view is from the German, or is it from the Allied?

Clay -  Both sides.  Joan, is that point of view primarily from the German?  
For the first time, actually, the Germans have been given full treatment.  (To Joan:  That’s certainly true, isn’t it?)

Joan – I think so. 

Clay -  With all these sailing charts and everything…   We worked from German sources a lot.  We also worked from Allied sources.  

Q – Did the German sources reveal that they had a lot of uncertainty, that they lacked confidence?

Clay – No.   They were very bold and they were very .. right up to the last day of the war. 

Here’s the way it went.  First off, I should mention, they had 100% inflation in the shipping claims, the Germans did.  They claimed they sunk 4 million tons in 1943, but actually they sank only 2 million tons.     If they said they sunk 10 million, they only sunk 5, and like that.   And that was consistent throughout the war.  So that they were always doing half as good as they thought they were.  

Q -  Was this known in advance, or did you pick this up, figuring the amount of tonnage sunk on the records?  Was this a PR move on the part of Germans? 

Clay -  Well, no.   They actually felt they were sinking that much.    Let’s put it this way:  A German skipper would see a ship in a periscope and sink it.   And he’d say, “Hey, that was a liberty ship, 7,200 gross tons.”  But, it may have actually been a 1500 ton tramp.  Its hard to see through a periscope.

Q – So it wasn’t an obvious attempt to inflate the figures?

Clay -  In some cases, by some skippers. 

Joan – They also claimed they sank the ship, but it didn’t actually sink. 

Clay-  Yeah.  Maybe it didn’t really sink at all.  We knew this in our book, before we started the book, because our submarines did exactly the same thing.

 We claimed 10 million tons of Japanese shipping.  It was only 5 million.  So we knew about it all the time.   It was not a deliberate attempt at fraud, it was a difficulty of submarine skippers in assessing their own actions.

Q – I thought what you were getting at might be the submarine skippers put in their reports, and the Admiral, Doenitz, would multiply by two, and that would be the …

Clay – No.  What they were doing in the office – and actually they were very strict about this – they were passing along the claims without a lot of scrutiny. 

Q – Your primary German source then was the log book or series of log books, the Admirals records kept by him or his staff? 

Clay -  Yes.  Our primary source was the daily war diary of the Submarine Commander Doenitz.  That’s thousands of pages, and it has the position of every U-boat out every day, radio communications with the boat, what they reported, what they were told to do, all of that. Everything that you could possibly want is in there.

Q – They must have charted this actively on a board while the war was going on?

  Clay – Yes.   They did, the same way we had convoys up on a huge map of the Atlantic.  They had the same thing.  

Its really interesting, if you get down in the detail of this thing.  The Germans were breaking our convoy code.   And we were breaking their code.    So you could plot a situation like this:   A convoy steaming off, and we pick up a German intercept saying, “Convoy is proceeding on a course of so-and-so.  Assemble and attack.”   But we know the U-boat force is preparing to assemble and attack.   So they change the convoy course, and then the Germans pick up this change of course, and they tell the pack, “Convoy is changed here…”  and the Allies change the course back again, or to some other course. 
Everybody’s reading everybody’s code, so every move is like you’re listening in on the radio.   The difference being, the code breakers on one side or the other were either slower or faster in getting the keys and breaking the code.  And more often than not, we outwitted them.

Q -  You mentioned the similarity to the scud missile.

Clay -   Yeah, in the sense of its overall effectiveness.   The scud missile struck terror into the Israelis. 
 
Q -   As I recall, for six months this was ballyhooed as a weapon that could strike at the heart of Israel or any of the other neighboring countries and could carry chemical weapons, and it did have a tremendous psychological impact.   There was the one that fell on a barracks in Saudi Arabia and killed 28 people.    Aside from that, there were injuries but no deaths. 
 
Clay -  Just a very few deaths.   The scud, to make a parallel with the U-boats, the bottom line effectiveness gave the U-boat the edge.  Not a false claim, but an actual fact.  I don’t think the scuds did anything of note, except they terrorized.   The cachet about the scud was the same for the U-boat.  

People were terrorized by the U-boat, especially if they were riding around on a Liberty ship (U.S. mass-produced cargo vessel), where people sailed with their heart in their throat.   But, as I explained to you, the odds of being sunk by a U-boat were just astronomical.   And particularly so after a certain point of the war, and that would be September of 1942, after which the sinking by U-boats declined dramatically.   That’s when our shipbuilding program grew exponentially.    

END PART VI       -  Dick Purinton

Wednesday, August 3, 2011

BLAIR INTERVIEW - PART V

WASHINGTON ISLAND, WISCONSIN -

Note:  This is a continuation of an interview I did with the Blairs at their home in February 1994 about their writing career.   
The Blairs had just completed Silent Victory: U.S. Submarine Warfare Against Japan,  some 1100 pages, when they did a quick book on MacArthur (400 pages), work that had led them to Hollywood.  After a few false leads with movie studios, they began research for Return From The River Kwai, a very fulfilling project about the incredibly unlucky River Kwai prisoners sunk by unknowing Allied submarines as they were transported below decks on Japanese cargo ships enroute to Japan. 


Return From the River Kwai was the 19th book of Clay Blair's and the tenth book done with Joan's assistance.  
- DP



JOAN AND CLAY BLAIR INTERVIEW-PART V

Clay - About this time we got a call from our agent.  Zanuck and Brown were making a movie, called MacArthur, with Gregory Peck. 

At that time the really hot thing was a movie tie-in book.  You produce a movie, and then release a book with it. This [movie would be] selling big, and they needed a tie-in book on MacArthur, because at that time there was no objective, concise book on MacArthur, believe it or not.  So he asked, would you want to do that?  This was for MCA/Universal.   And so we jumped at this.
 
(To Joan:  I can’t believe we did this.) 

We jumped in the car.   They said, there will be quite a bit of research on this.  Zanuck – no, Brown – said, “Don’t worry about the research,” says David Brown, a very distinguished Hollywood producer who’s married to Helen Brown, Cosmo editor at the time.  

“All you have to do is back up a van, and we’ll give you all the research [material] you can handle.  Don’t worry about it.”

Joan – “Just get on out here.”

Clay -   So we get in our car and tore out to California, checked in with these people, and there is no research material.  It’s all bullshit, like everything in Hollywood.  They had no research at all.

Joan – What we walked out with was one piece of paper, and that was a biography of Gregory Peck! 
But no research for the MacArthur book.

Clay – That’s right! I forgot about that.  So this movie is almost finished…

Joan -  They wanted this book in 90 days.

Clay -  They wanted this book as soon as we could do it.  We wrote it in 93 days. That’s unbelievable.  I mean, we had to find a place to live.  My two teenage boys, Kemp and Bobby, they were becoming difficult.  Their mother couldn’t handle them, and so we took them on.  We took a townhouse in Malibu.  Really went Hollywood. 

And, fortunately, I was able to work out a deal with Universal Studios.  They had, actually, a terrific library, Universal did.  We found this out on our own.  And their librarian was a terrific gal, and if she didn’t have a book, she was plugged in to all of the libraries in LA, and they all knew each other.  She could get a book overnight.  Not a long library loan, but overnight!  And then we had a deal set up with either her or the studio, where if we needed a book she would get it and the studio would messenger it out to us in a car, to Malibu.  So that we had – we used a hell of a lot of books, and rapidly.  Man, we chewed through books like you wouldn’t believe.  

So, 93 days later, we produced the 400-page volume for MacArthur, to tie in with this movie on MacArthur.  It was a phenomenal thing, it really was.  Just unbelievable.

Q -  Do you ever wonder?  Were you sweating bullets about having to produce this thing?

Clay -  Nope.  Just writing like crazy.

Joan -  We just sat there and did it.

Clay -  And, very rapid-like.  Remember, I told you at the time I could write very rapidly?  And how fast I am?   Well, we wrote Survive! in four weeks.   This took longer.  93 days.  

And this was published, the way it worked out, by Pocketbooks in paperback.  Pocketbooks was a division of Simon and Schuster at that time.  And the movie came out.  It was terrible.  We saw the movie.  Terrible movie.  

But a good book.  The book was far better than the movie, and the book got a little life in its own. 
This was the first one-volume, objective biography on MacArthur.  People writing about MacArthur can’t be objective: They’re either pro-MacArthur or nay- MacArthur, and quite strongly.  We were right down the middle, and we covered all the essentials of his life. 

Joan -  And even the Military Book Club picked it up.

Clay -  Yeah, and it was a strange thing.  The Military Book Club, which is a pretty big club, they read the book and said, “We’d like to bring it out in hardback.”  So they did.  They picked up the paperback and published it in hardback for the club.  And it’s still being sold.   And that book sold abroad, as well.   England, London.  So, that’s the story of that.  There’s not much else to tell about that, but…

So, there we were, sitting in Hollywood.   This place…we won’t go into all that…we were in this deal and that deal.  Just like (in) all the movies.   A lot of these things do get into the development stage, but very few get completed.  

We got involved in this wild thing, which is too complicated to go into, but basically a convict came to Universal and claimed that he knew who D.B. Cooper was.   

Do you know who D.B. Cooper is?   OK.   

He knew, because he was in jail in Atlanta with D.B. Cooper on another charge, earlier, and they planned this thing in jail.  Or something.  So, this guy was in for murder, our “source.”  So, anyhow, Universal hired us to investigate this.  Because I guess they were leery, they didn’t know what to think.   Most people don’t know anything about “facts.”  They didn’t know anything about this.

Joan -  So, if it was true, we would write a book about it, and they would make a movie about it.  But they didn’t want to do that unless it was true, so they hired us to investigate it.  So Clay took off and went all over the country investigating this, on the trail of D.B. Cooper.  And he decided it definitely was not true.  So that killed that golden egg.

Clay -  Yeah. (laughs)  We could have made millions out of it.   

Joan - But the FBI naturally got on the scent of this, and we had the FBI in our front living room, off and on, for the next several months.   Clay found out more than the FBI knew about it.  He was telling what he found out…it was the craziest thing.

Clay – Typical Hollywood.  They had actually established a development number. That means you can charge things to that number. 

(To Joan)  Remember that fraud?   This other guy played a huge scam on Universal.  They were milking that charge number, remember that?  We played it straight, and we got paid for doing it.
Joan -  Yeah. They paid rather well.

Clay -   Basically, it was a scam being played on Universal, and we kept them from being scammed, to a huge extent.
 
Joan -  After about a year of doing this sort of thing, we wanted to get back into writing, to get out of there.    

Clay -  Hated it.

Joan -  Anyhow, Mark, the Random House guy, cut out the action patrols from Silent Victory, the submarine patrols, and made a paperback out of that called, “Combat Patrols.” 

Clay -  A mass paperback.  

There’s two different kinds of paperbacks, the quality paperback, which is called a “treatment,” which is like those on the shelf over there.  (points)   And then there’s the mass market paperback.    They had done a trade paperback of Silent Victory and had done a really nice job.  Now they thought it would be ideal to do a mass marketed paperback.  Just cut the hell out of it and boil it down to a bunch of action.

And we did that! 

Joan -  And we did that.  And while Clay was doing that, we ran across this story about submarines sinking the ships on which were survivors of the men who built the bridge on the River Kwai.
  
Clay -  That was (referenced) in Silent Victory: The U.S. Submarine War Against Japan, but only a paragraph.
 
Joan -  So Clay says to himself, “I wonder if we could find those guys.” 
So that was the beginning of Return From The River Kwai.

Q -  And, 600 some interviews?

Clay – Oh, no.    I went to England.  I went to Australia.  I found all these people, which is a whole other story that I won’t get into.   But while I was in England, you (looks at Joan) interviewed people in San Diego, and out west.  

This was in 1978, about.   And when I went to these places in England, the homes were bombed out and there’s nothing there.   I developed a technique, finding these people by accident, the oldest person on the block, asking, “Do you know so-and-so?”   (“Yeah.”)   “Do you know where they are?”   (“They moved to Kent, or wherever.”)
 
I was chasing all over and found them, except for London – too urban, neighborhoods changed.     

But, luckily, I met this retired army major who worked at Thames at Six-TV, and that’s like “ABC News at 6.”   In England, it was Thames at Six, and he talked to his producer friend and got me on.   I was the lead thing on the news on Thames at Six.   For about a five-minute segment.   I had on a survivor from somewhere else I had found, and they started off with clips of this movie, Bridge Over The River Kwai, and it got everybody’s attention.   And I appealed to all those survivors from this ship, to please call me at the station so I can find you.

And, Holy Shit!   People got mixed up about what I was talking about.   Thousands of calls are coming in.   It kept everybody on the staff of Thames at Six busy from 6 until about 10 o’clock that night,  making these huge lists of people, and it was phenomenal.  (But) I found everybody.  It was an incredible thing!  
 
Meanwhile, this movie producer was watching Thames at Six.   He got very intrigued, and later on he contacted us and made a movie for us. 
 
Anyway, we found our interviews, and I left London and went to Australia.  And having had that experience (in England) I went right away to the newspaper in Sydney.  It turned out the editor was somehow involved with the (army) reserves, and he put a big thing in the paper:  “Blair is looking for these heroes.”   And that got immediate results, and moreover, it got me on Johnny Carson and the Merv Griffin show in Australia, and a couple other radio deals, TV.   And so the next thing you know, everybody’s calling me.   I found everybody!  In one day!

In two days I had all their names and addresses.  I interviewed these people like on an assembly line basis.  I had a room in a hotel and interviewed 9, 10  people straight through the day.

Q -  When you have a story like that so vital to each person because it meant their life, doesn’t everybody want to repeat their story,  their version?  It can become very time consuming?

Clay -  Yes.   Just like you’re doing with me, I would let them tell their own story.  Yes, it was time consuming, but those tapes were the most wonderful.

Joan – Yes they are.  Especially the British ones, because so many were from little coal mining towns, or something.   They were very repressed, sort of private people, and I don’t know how many of them broke down and they cried, probably the first time they ever talked about it.  You can hear their families, their wives, and their children who would be in the room with them, and they had never heard this.  They never heard any of this before. 

Clay -  Just remarkable.  Particularly the British.  The Australians were much more open.  

Joan -  The British.  It was just amazing to listen to those tapes.

Clay -  We came back and put together both books, rather quickly, and just as we were finishing, this movie producer showed up from London.  We were in LA, still, Malibu, and we made a deal with him, and part of the deal was we would write the screenplay, which we did while the book was being processed.  And we worked with this producer for weeks, and then we came up here.   

Q – Was this released as a British film?

Clay -  No.   This book was also a Literary Guild book, and the Military Book Club.   It sold well here.   The movie went ahead.  It took ten years to make the movie, ’88.  And we sort of gave up on the movie.   But we had all our money out of it.   He had a terrible time trying to get it financed, filmed, shooting with cast.  It just went on and on, and he lost his support from different people.  It had nothing to do with us.   But he finally made this damn movie.   And, it’s not a very good movie.
  
Joan -  You can’t see it in the United States.  It’s a tediously long, boring story.

Clay -  He’s enjoined in the United States.  He’s not been able to release it here.  It’s still in the court. 

Joan -  He sent us a taped video of it.  We’ve seen it, and its really a lousy movie.  
That was that.  Then what did we write?

END PART V

Tuesday, August 2, 2011

BLAIR INTERVIEW - PART IV

WASHINGTON ISLAND, WISCONSIN -

Note:   The Blairs completed the epic, Silent Victory, then Survive! in rapid succession.  Soon, they were immersed in researching newly released papers, a portion of the Kennedy Library collection.  This installment is about that effort and the radical point of view their research led them toward.  -  DP




BLAIR INTERVIEW - PART IV




Clay -  With Watergate, we had the idea of the Kennedy book.    The origin of that [book] was actually Watergate hearings.  Do you recall Sam Ervin? 
We were looking at that, day after day.  I don’t know.   Somehow, to see the onion being peeled away from Nixon inspired the idea, gave us the idea of…  what was Kennedy really like?   You could begin to see the real Nixon there in Watergate, as you may recall.

Q  -   Throughout this period, there was still a real active effort to uncover the plot, and that’s been ongoing for quite awhile, Garrison’s investigation and so on.  

Clay -  Yes, continuously, all during this period.  

In that, however, we had never stopped thinking about him.  I had done special issues on him and studying the assassination and was convinced that Oswald was acting alone and was just a nut.  And so, we never got into the assassination, the conspiracy theories, and such.  
 
It was what Kennedy was really like.   [The book we worked on] …was a direct outgrowth of Watergate.    

And so we made a deal with that guy at Berkeley (Publishing)… and went in the fall to the Kennedy Library, which was in a warehouse in Waltham, MA, a suburb of Boston. Literally, in a warehouse.   The Kennedy Museum Archives hadn’t (yet) been built.  There was a huge fight going on (over the location for the library) and it wasn’t a sure thing. 

Anyway, we went there, and by sheer coincidence, the librarians or archivists at Kennedy Library had decided to release thousands of documents, letters and so on about his childhood and his youthful years, up to about …1948-49.  He served two  terms in the House before he went to the Senate and elsewhere.

Q -  So you were really on a shopping trip to see what was available?

Clay -  That’s right, exactly right. 

We didn’t know what we were going to do.  And then, this thing fell in our lap, and we said, well we’re going to do this.  You’ve got to use this stuff, its wonderful.   We were able to figure out who his best friends were, who his girlfriends were - real girlfriends - everything.  

Joan -  We could keep a chronology of his life. We were soon able to figure out that these big gaps in the chronology was when he had been in the hospital someplace.

Clay -  Yeah.  It was very carefully concealed.

Joan -   Very carefully.   They had gone through and had taken out anything that could tell of something like that.

Q -  We had talked off tape about this past fall being the 30th anniversary of the assassination, and the rededication of the Archives and the Museum.   And how the information has just come out pinpointing his physical difficulties due to Addison’s disease.  

Clay -  Addison’s.  Right.

Q -  And so you had had all of the symptoms and problems, but no way really to approach those gaps because that stuff wasn’t released until last year, as I understand it.

Joan -   No. We knew all about that. 

Clay -  We knew, but they weren’t released. 
We found out who his doctors were.

Joan – His endocrinologist. 

Clay -  From these documents.  This woman at a clinic.  You could figure a lot of things, and we did.  We found all the friends, the girlfriends.  These were real friends, not one night stands.

Q -   I was amazed.  When you talk about JFK being a womanizer – that barely begins to scratch the surface.   It was the kind of activity that he had, apparently, from about high school on, much of it with full knowledge of friends, and family, too.

Joan  - Oh yes, his father was a womanizer.

 Clay -  A strange bunch of people.   Dysfunctional family.   God! 

Anyhow, we were the beneficiary of that release.  From it we were able to divine who his friends were, who the doctors were.  This and that.  We went further and interviewed the people from PT-109 and found that was a bunch of bullshit.  We kept finding that his health was terribly bad, had no idea of the depth of it. His war record was faked and hoked-up.  He never really did write “While England Slept”… He knew almost nothing of economics.  Everything that had been said about him was a lie. 

 Q-  That must have come as somewhat of a shock?

Clay -  It was.

Joan  - We all were shocked.

Clay -  We kept on going and going.  Then, I think we interviewed every politician in Boston that ever knew him, all over the state, and girlfriends, and everybody we could think of.  Hundreds of people.  

Q -  What amazes me is how, in the personal interviews that you do, they open up, most of them.  A few seem to hedge, but most of them seem pretty forthright as to …

Clay – It comes down to skill of interviewing.

Q -  Also, what comes through in this book is , you’re taking some of the interviews and you split up.  And when you write about the interviews you interject yourself as the first-person.   You’re interviewing, and the phone rings, and it happens to be so-and-so.   Which makes it a more credible account.  
What was the reception like with that book?     

Clay  -   It made a big splash.   But it didn’t sell a lot, because…I’ll tell you why.  We had a terrific review in the New York Times.

Joan -  And it said that this was the first really objective look at Jack Kennedy’s life.

Clay -  But, what happened was, about this time Judith Exner came forward and I think published her book.   She was the go-between between the Chicago mobsters and the White House, about the attempt to kill Castro.   Remember Jack Kennedy -  or Bobby or somebody - wanted to get this thing going where they were going to get the mob to hit Castro?  She was the go-between.  Exner was a friend of Frank Sinatra and all that crowd, knew the mob, and met Kennedy in Las Vegas.  Anyhow, they had a torrid affair, one of many.   

She was dying of cancer and was publishing this book, about the same time ours hit. And our book got lost – got mixed up in this Exner-type thing.  In some quarters it was praised a lot, but it didn’t sell, I think because people thought it was the same type of thing. 
 
Q – Hers was probably juicier being a first-hand account?

Clay – It certainly was that!   But it tarnished our book, really.    And the whole outcome was quite unexpected.  We did okay, and I think you’ll find it in any of the Kennedy books being written.   They all start out that our book … they are indebted.  Because it was the seminal book in the sense of turning the image of Jack Kennedy. 

Q -  How do you think his image in history will be seen?   Has this made any difference?   Or is it still lost among all the other things about him?

Clay -  Oh no.   People who are writing about Kennedy now all use that book as a starting point, because we take him right up to the Senate, and I believe its completely changed the image of Kennedy. 
 
Q -  Tell me about this key love affair he had which resulted, possibly, in a son?  With Inga Arvod? 
What’s your final verdict on that?   Today, you could probably check the DNA.  He was born in ‘47.  Was he Kennedy’s son?

Clay -  How do you get Kennedy’s DNA, though?   That’s a problem.   Hair?  Cause I think he’s interested, anxious to establish his…a mixed up kid. 

Q -  If anything has a real wallop in this book…he fooled around…had girlfriends, and the possibility of having a son.  And he was not married at the time.   

Clay -  No.

Joan -  That affair stopped before he got married until after he was elected.   I don’t think so.  I don’t have the foggiest idea. 

Q -  Any facial resemblance?

Clay -   Yes.  

Joan  - I didn’t see him.    



(Tape cassette #2)

Q -  (Asks Clay / Joan to read a paragraph from the book in the conclusion of The Search for JFK.)   
  
 Joan reads aloud…
    “Finally, there is this question:  Do these omissions and distortions matter? We believe that they constitute overwhelming evidence that shrewd manipulation of the media can make a man president of the United States.  We think that matters.  Indeed, that it says something important about the quality of our democracy.   Journalists can, and should, be condemned for careless and sentimental mythmaking, and for living on handouts from public relations machines, to the neglect of original research and questioning.  But there is a more difficult problem here, too, and that is, that the American people seem all too glad to be given comic strip heroes to believe in, and woefully unwilling to consider human complexities in the very human beings they want to lead them.  We think that matters a great deal.”

Q -  That’s still going on today.

Clay -  Yes, it is.  Nothing has changed.   From Watergate to the Iran Contra Affair, to the Whitewater Scandal.  Same thing.  We’ll find out later… when Hillary writes her book.
  (turns to Joan)  So, then what happened? 

Joan - Then what did we write?

Clay -  This book was a Literary Guild Book.

Q -    A Literary Guild Book means they are endorsing it for the readership? 

Clay -  They market it through the Literary Guild, put it in their catalog, announcements, and all that.

END PART IV –

Monday, August 1, 2011

BLAIR INTERVIEW - PART III

WASHINGTON ISLAND, WISCONSIN -

Notes:   This is the third installment from a taped interview with Joan and Clay Blair on Washington Island, WI, in February of 1994.   The general topic was of their lives as writers and the work they did.  In Part II, Joan met Clay when she had become his typist.  Soon, she was co-researcher and organizer of materials for Clay, and as a team they were able to tackle both topical subjects as well as long, detailed histories of WWII that required a great deal of leg work, interviews, and travel to sources.  Their book Silent Victory was the first of several definitive histories the two collaborated on.  




The tapes I have from several afternoons spent at the Blair home in 1994 are not complete, in that some of the material was inadvertently not successfully recorded. But, in the taped interview that remains, there is still a fair amount of material to give a full picture of what their lives and work were like.


Joan continues to live on Washington Island.  Clay died in 1998.  
-  DP




BLAIR INTERVIEWS - PART III


Q -  What about the book Survive! ?    You wrote that here in the States?

Clay  -  Yeah.  Well, see, this book (Silent Victory) was so long.  [It] was actually much longer than it is now.   (consults with Joan…about the copy editor…)
  
This book was actually about half again as long.   A third again, a quarter again as long.  Anyway, it took a year for this thing to make its way through the publishing process.  And it was so long, it would take months for them to copy edit and send it back to you.  



So, in the interim, in between one of those processes, we did Survive!     

Joan -  Well, we were reading the newspaper, and we were living in Key Biscayne in those days, and the Miami Herald covered South America, and one morning, Clay read in the paper this little paragraph about these people who came down from the Andes.  They’d been up in the mountains, crashed in an airplane.   They had been up there 72 days and they had “survived on moss, lichens.” 

That was a bunch of baloney, because there’s nothing up there to eat.  And he (Clay) said, they must have resorted to cannibalism.  

So he called our friend, Mark Chaffee at Bantam books, and said, “There’s something incredible going on down in Uruguay, and I’d love to go down there and do a quick thing on it.  Mark had read about it in the New York Times, and so about a month later, when this whole thing blew up down in Uruguay, it came out, and they had this big press conference.

Clay -  In the New York Times it had almost the whole front page.

Joan  -  The “Survivors” were auctioning off their rights, and all the New York publishers were getting together to put in their bid on this.

Clay -  Paper backs, hard backs, movie…  they were packaging offers, and...

Joan  -  Little Brown (Publishing) called up, and we said, “Yes.”  But they didn’t get it.

Clay  -  They dropped out at $2 million, or whatever.  And Lippencott got it, as a matter of fact.

Joan  - Then this guy, at Berkeley Books, he called up and said, “Would you be interested in going down and doing a quick rip-off book?”   

So we said, “Sure.”  We had just done Silent Victory, and we didn’t have anything to do.

Clay  - Plus, we could have been down there and been done by the time the news in the Times came out.   The auction (for rights)… and I was reenergized with the Little-Brown (offer)… and then they dropped off.   By this time I was really pissed off.  And I was ready to do a rip-off book.

Q -   “Rip-off”  meaning…

Clay  -   Meaning, unauthorized.

See, with a group like that (the surviving Uruguayan soccer players), when they’ve auctioned a package, they won’t talk to anybody else.  They just talk to people who were in their bid.  And so anybody else trying to do a story about it does not have access to them, and you’re in a rip-off spot.  

Q -  How do you get your information, then?

Clay  -  This guy, this editor, is Chevy Chase’s dad.  A real jerk.  He was with Berkeley.  

Joan  -  Who was that weird guy?  

Clay  - Anyhow, we went to Uruguay.  And what happened was, we went down.  And this was strictly journalism, now.   Topical. 

There were 65 people on the plane. 60.  Whatever.  A bunch of people.   66 people on the plane, and 16 came out.   And so …50 people were (maybe) eaten.   OK.    

Joan  -  Five were eaten.

Clay -  And mostly, it turns out, that in the weird arguments, the papers wrote us up: “The piradas are here” -  the pirates. 

We were the first to arrive.  We got there before their writers did.  We were the English novelists.
The papers wrote us up big, the “piradas.”  

And in the meantime, the 50 families of the dead who were eaten were not included in the “deal,” in the package deal, nor did the boys offer them a penny, a funeral, a memorial.   Nothing.  The families of the 50 people who were eaten - let’s say they were all eaten – obviously, I don’t think they all were - those people (the survivors) called them (families of the lost) “dissidents.”   

They ("dissidents") were pissed off at the survivors because they had offered them nothing, not even a memorial.  Nothing.  The boys had come out of there criticizing the Air Force, the Uruguayan Air Force, for incompetence and so forth, and so the Air Force was pissed off at them as well, and the Air Force conducted a total, huge, official government investigation of the thing.

And so, we worked with the “dissident families.”  They were very happy to see us, anything to cut the stripes of the boys.  And the Air Force was happy to see us, too.   So we got all the dope from the Air Force, all the stuff from the dissident families, then we went over to Chile.   

The way they were found was by rescue, by a mountaineer rescue team, a Chilean mountaineer rescue team.   And these guys parachuted or helicoptered in and got the bulk of the people out. They had also formed hostile opinions of the (surviving) kids.  They had been up there several days with them at the crash site, with all of this grisly and unbelievable stuff, and they had heard the whole story.  They had asked and been told the whole deal of this survival thing, the 60 or 70 days or whatever.  They were full of information.  

So we pumped them, flew back to Miami, and wrote the book - researched in four weeks and wrote it in four weeks.   Strictly a journalistic thing. 

Q -  I had that book in my possession around 1973.  The Navy shipped books to us, paperback reading material to each ship for the sailors, and that was one I had just happened to pick up.  

Clay  -  A funny thing happened.  This book was a best seller in Mexico, Latin America…all over the world.  (A German magazine) did the whole book in nine installments.  And one day, a contract and a check for $8000 arrived at my agent’s from a Mexican movie producer.   And we said, “What in the hell are we going to do?”   

And so the agent said, “Let’s see if the check clears, and if it does, I’ll send you a contract and you can sign it and send it back."   

And the check cleared, and, they made the movie.  They made the typical two-hour long, bloody, stupid, Mexican movie by a terrible production guy.  Everything about the movie was ‘schlop.’  Horrible.  One scene there’s snow everywhere;  the next scene its green.

This guy, a guy named Alan Carr – I don’t know if he means anything to you? – he was a Hollywood hustler first-class, and he happened to be a would-be movie producer who was in Mexico City.  He looked out the hotel window, and he saw people lined up at the movie theater, lined up all the way down the block, and he thought, “What in the hell is that?”  And it was Survive! 

And so, to make a huge, long story short, he bought the Mexican rights and brought the movie back to Hollywood.   He cut HeHe       He cut it, probably 2/3, put new music in it, new titles, reshot it through gauze and all the technical things they do in Hollywood, and reduced this thing to the essence.   A 92-minute movie!
   
Q -  We just saw the movie, maybe that’s it?  Its called,  “Alive”…

Clay  -  No, that’s a different movie.  That’s the authorized version.  I’ll get to that.

So, we’re sitting in Miami and the phone rings, and its Alan Carr, and he says, “I bought your movie.”
We said, “What movie?”  This was the first we ever heard of that movie.  And so he flew to Miami on this Lear jet and showed us this movie, and it was pretty awful, but God knows, compared to what it must have been originally…

His problem was, he had this movie, but he didn’t have any people.   The survivors wouldn’t tour, because they were working on their own movie.  He had no South American connection, except me.   So he asked if I would tour and promote the movie, and I said, “Yes.”    Meanwhile, we cranked up the paperback again to be re-released, now that there was a motion picture.  So I toured the United States in this Lear jet with champagne and caviar for two, three weeks.  Major talk shows.  I was on Merv Griffin, radio stations.

 Q -  Did the movie get a boost?

Clay  - It certainly did.  This movie sold like crazy.   

Joan  -  Its been on TV a number of times.   

Q -  I’ve seen your name afterward.  Screen play credit?

Joan  -  No.  ‘Based on the book by Clay Blair.’

Clay  -  I had nothing to do with it except when the guy showed up and said, “Do you want to tour for me?”  And, it gave us the opportunity to republish this paperback. And also, republished around the world, because this movie went everywhere. 

Then, Payne, Carr and Robert Stieglit (sp?) – Stieglit had the contract with the Beatles.   They made Sgt. Pepper Lonely Hearts Band.   They made Grease, Saturday Night Live with Travolta, and some other movie.  They made all those movies from the money they made off this project.  So they made out like bandits!   We never got anything more than $8000.   

Joan -  Plus, we sold a few more books.  However, that was that.

Clay  -  That was that.  

Then we finished Silent Victory, and went looking for another project. 

END PART III  *****     

-  Dick Purinton