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The other thing Clint insisted on was that I should leave my
politics out of my writing. Yet I realized that without the political
message the Varriors would be all hot pointless.
During these discussions, in which Clint would become extremely
eloquent and of which he never soemed to tire, we spoke a great deal
about my character, Johnny ShelKburn, who was drawn in part from
Oswald. Clint saw Shellburn as a bitter, lonely, alienated man to
a much greater patent than I did
Girc relationship continued along these lines up until I left for
California in Tlav of 1963, and resumed where it left off as soon as
I not back in September Clint was consistent. He always wanted me
working on a novel rather than poetry and on The Idle Varriors
rather than one of my other novel projects.
Sometime in the autumn of 1963 Clint started reading The Idle
Warriors manuscript and making specific suggestions for rewrite.
His favorite chapter was "Soledad, and one night in the Bourbon
House he got the novelist Tom Sancton to read it and make some
suggestions.
In the autumn of 1963, in fact, Clint took an extraordinary in-
terest in me and in seeing to it that I sat dlownwand wrote, He
provided me with what he called a "controversial' typewriter, be-
cause, he said, there was a controversy concerning its ownership.
He told me not to worry about anything, that he would take care of
me that I should just write. He even provided me with a woman.
This was Jeanne Hack. Clint always called me his son, and one
night when I was sitting in the Bourbon House he walked up with
Jeanne and introduced her to me as his daughter. Then he said,
"Let's have a little incest," and walked off.
Auhile later when I left the Bourbon House Jeanne, somewhat to
my surprise, left with me, and trailed around with me for the
next several days. (Jeanne's father, a Dr. Hack, was a well-known
heart specialist at the Tulane Medical Center at that time; and
in 1968 she was one of the witnesses that Garrison questioned about
me and, according to what I heard, was then living in the Midwest
married to someone named Napoli.)
As I was to learn after the assassination, Osuald had made head-
lines that summer in New Orleans with his 'Fair-Play-for-Cuba"
activities -- yet no one mentioned this to me when I got back to
New Orlcans in September. This was one of the things that Jim
Garrison could not bolicye in 1968, and it is peculiar. I had
talked a Lot about Oswald in 1961 and 1962, and had conversed about
him extensively with Clint as recently as that spring. But neither
Clint nor anyone else said to me, "Hey, that guy you wrote The
Idle Varriors about was in town that month.'
This has caused me to think very hard about who I was with
in the autumn of 1963 and what they seemed to be thinking about and
doing.
But before going into detail about that time period in general
I want to cover my relationship with Slim.
/
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"ocrText": "40\nThe other thing Clint insisted on was that I should leave my\npolitics out of my writing. Yet I realized that without the political\nmessage the Varriors would be all hot pointless.\nDuring these discussions, in which Clint would become extremely\neloquent and of which he never soemed to tire, we spoke a great deal\nabout my character, Johnny ShelKburn, who was drawn in part from\nOswald. Clint saw Shellburn as a bitter, lonely, alienated man to\na much greater patent than I did\nGirc relationship continued along these lines up until I left for\nCalifornia in Tlav of 1963, and resumed where it left off as soon as\nI not back in September Clint was consistent. He always wanted me\nworking on a novel rather than poetry and on The Idle Varriors\nrather than one of my other novel projects.\nSometime in the autumn of 1963 Clint started reading The Idle\nWarriors manuscript and making specific suggestions for rewrite.\nHis favorite chapter was \"Soledad, and one night in the Bourbon\nHouse he got the novelist Tom Sancton to read it and make some\nsuggestions.\nIn the autumn of 1963, in fact, Clint took an extraordinary in-\nterest in me and in seeing to it that I sat dlownwand wrote, He\nprovided me with what he called a \"controversial' typewriter, be-\ncause, he said, there was a controversy concerning its ownership.\nHe told me not to worry about anything, that he would take care of\nme that I should just write. He even provided me with a woman.\nThis was Jeanne Hack. Clint always called me his son, and one\nnight when I was sitting in the Bourbon House he walked up with\nJeanne and introduced her to me as his daughter. Then he said,\n\"Let's have a little incest,\" and walked off.\nAuhile later when I left the Bourbon House Jeanne, somewhat to\nmy surprise, left with me, and trailed around with me for the\nnext several days. (Jeanne's father, a Dr. Hack, was a well-known\nheart specialist at the Tulane Medical Center at that time; and\nin 1968 she was one of the witnesses that Garrison questioned about\nme and, according to what I heard, was then living in the Midwest\nmarried to someone named Napoli.)\nAs I was to learn after the assassination, Osuald had made head-\nlines that summer in New Orleans with his 'Fair-Play-for-Cuba\"\nactivities -- yet no one mentioned this to me when I got back to\nNew Orlcans in September. This was one of the things that Jim\nGarrison could not bolicye in 1968, and it is peculiar. I had\ntalked a Lot about Oswald in 1961 and 1962, and had conversed about\nhim extensively with Clint as recently as that spring. But neither\nClint nor anyone else said to me, \"Hey, that guy you wrote The\nIdle Varriors about was in town that month.'\nThis has caused me to think very hard about who I was with\nin the autumn of 1963 and what they seemed to be thinking about and\ndoing.\nBut before going into detail about that time period in general\nI want to cover my relationship with Slim.\n/"
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