FRED KAPLAN

With all due respect to re-enactors, I consider the Civil War too tragic a subject to make a game of.

Lincoln is a genius of language and a brilliant writer who deserves to be seen as part of the canon of great writers in American literature.

A recommendation to scholars: Write only one book about Lincoln; give it your best shot, and then move on.

Serious biographies need to have a historical base in facts.

I started out as a writer of fiction, but nobody wanted to publish my work as a young man. So I decided to put my interest in the narrative writing of biographies.

Myth and mythology often serve constructive and aspirational purposes. But they also do harm.

It should be quite clear that it is possible for unpleasant people who are small in various ways other than in their artistic genius to produce great art. Art and morality have no necessary connection.

We do ourselves a disservice when we self-servingly massage the record.

Obama is a very fine writer with an excellent command of language. His memoir 'Dreams From My Father' is a fine book, but it will not rank as one of the great autobiographies.

The challenge of a president himself struggling to find the conjunction between the right words and honest expression, a use of language that respects intellect, truth, and sincerity, has largely been abandoned.

I got to know Gore Vidal quite well, up front and personal: his magnificent strengths and his appalling, almost other-worldly weaknesses.

Words about Lincoln fill a small but ever-growing library.

Political history is not the only way to approach historical figures.

The value of Eric Foner's 'The Fiery Trial' lies in its comprehensive review of mostly familiar material; in its sensible evaluation of the full range of information already available about Abraham Lincoln and slavery; and in the deft thoroughness of its scholarship.

To give credit to Lincoln for moral progression seems beyond the facts and unnecessary for our appreciation of this arguably greatest of all American presidents.

The post-assassination Lincoln took on a greatly amplified importance to much of the American public, probably the president most deeply reviled in his lifetime and mostly highly regarded after his death.

I'm not a Lincoln expert, rather a biographer who has had the pleasure of reading much of what has been written about him from his lifetime to this year of his bicentennial. Some advice: Don't try that unless you have at least five years available.

Can a great artist be mean-spirited, grasping, harsh to his family, violent in his emotions, vindictive in his hatreds, an all-purpose scoundrel? If our test cases are the likes of Wagner, Picasso, and, let me say, Dickens, the answer is a resounding yes.

Is there really any relationship between artists' personal conduct and their art? Certainly not.

I first wrote a biography of Thomas Carlyle, and it turned out I loved writing biographies and had a talent for it. I believed I had a contribution to make.

Lincoln was the Twain of our politics.

Lincoln is distinguished from every other president, with the exception of Jefferson, in that we can be certain that he wrote every word to which his name is attached.

I want to contribute to the culture and keep great writers alive by telling the stories of their lives.

'Colonel Roosevelt' is compelling reading, and Morris a brilliant biographer who practices his art at the highest level.

Reading Edmund Morris's 'Colonel Roosevelt' is a rewarding journey, as it must also have been for its author, who concludes his three-volume saga begun in 1980 with publication of 'The Rise of Theodore Roosevelt.'