requirements to be fulfilled. The winner would be selected by a rotating committee of professors from several different departments (history, philosophy, English, and foreign languages), and as long as the grant was used to finance a trip abroad, the Markham Fellow could do anything with the money that he or she saw fit, no questions asked. A huge outlay was required to set this up, but large as that sum was (the equivalent of four years’ salary), it put no more than a small dent in my assets, and even after I had disbursed those various amounts in the various ways that made sense to me, I still had more money than I knew what to do with. It was a grotesque situation, a sickening excess of wealth, and every penny of it had been procured with blood. If not for a sudden change of plans, I probably would have gone on giving away the money until there was nothing left. But one cold night in early November, I got it into my head to do some traveling of my own, and without the resources to pay for it, I never could have followed through on such an impulsive scheme. Until then, the money had been nothing but a torment to me. Now I saw it as a cure, a balm to ward off a terminal collapse of the spirit. Living in hotels and eating in restaurants was going to be an expensive proposition, but for once I didn’t have to worry about whether I could afford to do what I wanted. Desperate and unhappy as I was, I was also a free man, and because I had gold in my pockets, I could dictate the conditions of that freedom on my own terms.
. . .
H alf of the films were within driving distance of my house. Rochester was about six hours to the west, and New York and Washington were directly to the south—roughly five hours to cover the first leg of the journey, then another five to do the second. I decided to begin with Rochester. Winter was already approaching, and the longer I put off going there, the greater the chances would be of running into storms and icy roads, of bogging down in some northern inclemency. The next morning, I called Eastman House to inquire about seeing the films in their collection. I had no idea how one went about setting up such a thing, and because I didn’t want to sound too ignorant when I introduced myself over the phone, I added that I was a professor at Hampton College. I was hoping that would impress them enough to take me for a serious person—and not some crank calling out of the blue, which was what I was. Oh, said the woman on the other end of the line, are you writing something about Hector Mann? She made it sound as if there was only one possible answer to the question, and after a slight pause, I mumbled the words she was expecting to hear. Yes, I said, that’s it, that’s it exactly. I’m writing a book about him, and I need to see the films for my research.
That was how the project began. It was a good thing it happened so early, because once I had seen the films in Rochester ( The Jockey Club and The Snoop ), I understood that I wasn’t just wasting my time. Hector was every bit as talented and accomplished as I had hoped he would be, and if the other ten films were up to the standards of those two, then he deserved to have a book written about him, he deserved the chance to be rediscovered. Right from the start, therefore, I didn’t only watch Hector’s movies, I studied them. If not for my conversation with that woman in Rochester, it never would have occurred to me to take this approach. My original plan had been far simpler, and I doubt that it would have kept me busy much beyond Christmas or the first of the year. As it was, I didn’t finish viewing all of Hector’s films until the middle of February. The old idea had been to see each film once. Now I saw them many times, and instead of visiting an archive for just a few hours, I stuck around for days, running the films on flatbeds and Moviolas, watching Hector for entire mornings and afternoons at a stretch, winding and rewinding the