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New book explores origins of Watergate's Deep Throat

By Jennifer Tisdale

Cover of Max Holland's "Leak: Why Mark Felt Became Deep Throat."
Cover of Max Holland's "Leak: Why Mark Felt Became Deep Throat."

Author and journalist Max Holland accessed the Ransom Center’s Bob Woodward and Carl Bernstein Watergate Papers while researching his book Leak: Why Mark Felt Became Deep Throat (University Press of Kansas, 2012), which is now available. Holland describes his work at the Center:

The genesis of Leak: Why Mark Felt Became Deep Throat began when I read a news item in 2007 about the opening of materials relating to Mark Felt in the Woodward and Bernstein Papers at the Ransom Center. Having done research in archives for years, one thing I’ve learned is that newly opened papers invariably contain new insights into a historical event, no matter how much it has already been written about.

I wasn’t disappointed after perusing the collection.

The single-most important documents, of course, were Bob Woodward’s typewritten notes from his encounters with W. Mark Felt, a.k.a. Deep Throat. Other Woodward notes from contemporaneous interviews with L. Patrick Gray III and Donald Santarelli were useful too. Early drafts of All the President’s Men, particularly those portions about Deep Throat that were excised from the published book, illuminated the Woodward/Felt relationship. Finally, an interview that Carl Bernstein and Woodward conducted with the late Howard Simons was vital for my book, since he was the only Post editor I could not interview myself.

Gobsmacked: Professor Recounts Class’s Tour of the Ransom Center

By Elana Estrin

Jacket worn by Robert De Niro in 'Taxi Driver' from the Paul Schrader collection.
Jacket worn by Robert De Niro in 'Taxi Driver' from the Paul Schrader collection.

In October, University of Texas at Austin Psychology Professor Marc Lewis brought his freshman Plan II Honors class on a trip to the Ransom Center. Professor Lewis has won numerous teaching awards, including the Regents’ Outstanding
Teaching
Award and the President’s Associates Teaching Excellence Award. Below, Professor Lewis writes about his class’s private tour of the Ransom Center, led by Director Thomas F. Staley.
 

Page from the Shakespeare First Folio.
Page from the Shakespeare First Folio.

Over 30 years of teaching, I can remember many occasions where students were excited and interested, but my Plan II Honors Signature class’s visit to the Ransom Center on October 4 marks the first time that I have heard audible gasps of astonishment. The class arrived with high expectations, knowing that even among the “gems of the university,” the Ransom Center is unique. They had ordered an eclectic collection of treasures to view: the original manuscript of Arthur Conan Doyle’s “A Scandal in Bohemia,” a Shakespeare first folio, Robert De Niro’s jacket from Taxi Driver, Volume 1 of the 1609 Douay Old Testament, original notes from a Woodward and Bernstein interview with Deep Throat, Abraham Ortelius’s 500-year-old map of the New World, a set of original architectural drawings by Frank Lloyd Wright, and various other rare items. The students came expecting that those exhibits would be the highlight of the day; what they did not expect was that the real magic would be a talk by Director Tom Staley followed by a personal tour of the closed, nonpublic sections of the building.

These freshmen students knew what they experiencing. As one student wrote afterwards: “Walking through rooms filled with original movie posters, books filled with presidential autographs, and other priceless historical artifacts spread casually along shelves was incredible in and of itself, but the places and people Dr. Staley took us to were even more remarkable. Seemingly without ever planning to do so, he showed us the full scope of the Ransom Center’s activities and their significance, everything from the meticulous preservation of the cover from a first edition of The Great Gatsby to colorful sketches of Macy’s parade floats from 40 or 50 years ago.”

Another student was as struck by the excitement of the Center as fully as he was by the items: “Having a backstage pass with Director Tom Staley as guide was a spectacular experience. Simply observing his reactions to the artifacts we saw being restored revealed to me the passion that goes into maintaining this Center.”

Conservator Ken Grant works in the paper lab, consolidating the paint layer on designer Norman Bel Geddes’s 1926 drawing for floats and participants in Macy’s parade. The drawing will be included in an upcoming exhibition on Bel Geddes, with support generously provided by an FAIC/Tru Vue Optium® Conservation Grant. Photo by Kelsey McKinney.
Conservator Ken Grant works in the paper lab, consolidating the paint layer on designer Norman Bel Geddes’s 1926 drawing for floats and participants in Macy’s parade. The drawing will be included in an upcoming exhibition on Bel Geddes, with support generously provided by an FAIC/Tru Vue Optium® Conservation Grant. Photo by Kelsey McKinney.

And: “Around a corner, we encountered an original poster for the 1962 film adaptation of To Kill a Mockingbird—you just don’t find this sort of thing anywhere else. Sometime later in the trip, we were taken to a room where an ancient map a dozen-and-a-half feet long was undergoing a preservation process. You see this sort of artifact on the Discovery Channel and think, ‘Oh, that’s neat!’ but it is only when you see it first-hand that you get a true appreciation for the talent, dedication, and effort that goes into it all.”

Other students commented on the way that the Ransom Center’s collections connect the dots to show artistic flows of thought: “The Ransom Center’s pursuit of an understanding of the creative process and the artistic mind made me completely rethink the process of bringing together collections of art and writing.”

These students had never seen anything like the Ransom Center, and I am pleased that they were wise enough to understand how rare an opportunity they were given. I understood that opportunity as well, and I am not embarrassed to admit that my own jaw dropped more than once during the visit. What an astounding afternoon.

In the galleries: Bob Woodward's typed notes about his meeting with Deep Throat

By Courtney Reed

Bob Woodward's typed notes about his meeting with Deep Throat.
Bob Woodward's typed notes about his meeting with Deep Throat.

Between 1972 and 1976, Bob Woodward and Carl Bernstein broke one of the biggest stories in American politics. Beginning with their investigation of a burglary at the Democratic National Committee headquarters in the Watergate complex, Woodward and Bernstein uncovered a series of crimes that eventually led to the indictments of 40 White House and administration officials and ultimately to the resignation of President Richard Nixon. While reporting on the scandal for The Washington Post and for their subsequent books, Woodward and Bernstein kept all of their notes and drafts. The result is a meticulous record of the Watergate scandal from beginning to end, providing a behind-the-scenes perspective into the nature of investigative journalism, the American political process, and the Nixon presidency.

Bob Woodward’s secret source about the Watergate scandal, famously referred to by the reporters and their editors as “Deep Throat,” was identified as FBI Associate Director Mark Felt in 2005.

In his typed notes from an early morning parking garage meeting on October 9, 1972, Woodward simply refers to the exchange with Felt as “interview with x.” These notes can be seen in the Ransom Center’s current exhibition Culture Unbound: Collecting in the Twenty-First Century, on display through July 31.

Woodward’s notes with Felt were used for the October 10, 1974 Washington Post story that exposed the Watergate burglary as part of a larger plan. The notes, marked up with spelling corrections and asterisks, quote Felt saying, “no names but everyone in the book.”

Soon after winning the Pulitzer Prize for their reporting in May 1973, Woodward and Bernstein signed a contract with Simon and Schuster to write a book about Watergate. Working nights and weekends while still covering the scandal for The Washington Post, the reporters tried several approaches, including telling the story from the burglars’ perspective. In an early outline of the book, the reporters briefly describe a day in the life of many of the major conspirators. Eventually Woodward and Bernstein decided to tell the story of their own investigation of the break-in and cover-up.

In 1976 the film version of Woodward and Bernstein’s 1974 book, All the President’s Men, was a box office success. In the publicity surrounding the film, Woodward and Bernstein received as much notoriety as the stars who portrayed them, Robert Redford and Dustin Hoffman.