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"content": "\u003cp>To say that this nation’s criminal justice system is deeply flawed is to flirt with understatement.\u003c/p>\n\u003cp>Everything from the oversurveillance of Black and Brown communities, to police brutality, to stop and frisk policies, to a multibillion-dollar prison labor industry demonstrates how a system ostensibly designed for fairness is anything but.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892127 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png\" alt=\"\" width=\"275\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM-160x266.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">Perhaps one of the most tragic aspects of this reality, as Reuben Jonathan Miller explores in his impressive new book \u003cem>Halfway Home: Race, Punishment, and the Afterlife of Mass Incarceration\u003c/em>, is that even those who leave incarceration are in many ways never truly free. They instead become members of the “supervised society”—and it is this uniquely disenfranchised population that is the focus of his book.\u003c/p>\n\u003cp>This indictment of the criminal justice system should trouble the soul of the nation. Miller writes in prose that is at once powerful and engaging—and combines an abundance of data with the lived experiences of the people the numbers represent. A sociologist, criminologist, social worker, and former chaplain at Chicago’s Cook County Jail, his insights are partly drawn from having spent 15 years interviewing nearly 250 people caught up in the prison industrial complex. This work included a research project during which he spent three years engaging with 60 men and 30 women after their release from incarceration in Michigan. Miller can also claim far more experiential expertise, because he was “born black and poor in the age of mass incarceration” and, like every Black person he knows, “was stopped by the police a number of times.” He is a scientist armed with statistical information, and he is the son and brother of incarcerated men.\u003c/p>\n\u003cp>Miller is thus more than adequately equipped to make the observation that “no other marginalized group—not poor black people without criminal records, not mothers on welfare, not even undocumented immigrants—experience [the] profound level of legal exclusion” that the formerly imprisoned do. The breadth of these restrictions—which can include everything from being ineligible for student loans or public housing to living in a home that has a foster child—is remarkable. As Miller notes, “Forty-five thousand federal and state laws regulate the lives of the accused…. In Illinois, there are over 1,400, including more than 1,000 employment regulations, 186 policies that limit political participation, 54 laws restricting family rights, and 21 housing statutes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the labyrinthine rules and regulations that govern the lives of the released don’t go away even when they are no longer formally under supervision. Take, for example, the story of Sabrina, told in Miller’s book. Her accomplishments post-release include working on the successful campaign to restore voting rights to people with felony convictions in Florida, an international fellowship, being featured in a documentary, and taking a tour of prisons in Norway. Nonetheless, despite being employed and having strong credit—plus a letter of recommendation from a state representative—Sabrina couldn’t find anyone to rent her an apartment. If an employer wanted to fire Sabrina because of her race or gender, they would be in violation of the law, and she could file a lawsuit. If, however, they wanted to fire her, or anyone else with a felony conviction for that reason alone, they would be completely within their rights to do so.\u003c/p>\n\u003cp>These are among the many reasons that Miller has concluded that:\u003c/p>\n\u003cblockquote>\u003cp>“…the problem of mass incarceration is really a problem of citizenship. This is because citizenship isn’t just about whether or not someone has a set of legal rights. Citizenship is something each of us practices in everyday life. It is made through everyday exchanges and people at every level, because citizenship is about belonging.”\u003c/p>\u003c/blockquote>\n\u003cp>It is long past time we reexamine who we deem as perennially other, and why. When we consider, that “of the 2.3 million people who are incarcerated, 40 percent are black, 84 percent are poor, and half have no income at all” we have to agree that it should be “clear to anyone paying attention that the legal system does not administer anything resembling justice but instead manages the nation’s problemed populations,” Miller writes. [aside postid='arts_13889157']\u003c/p>\n\u003cp>One member of that population is Miller’s older brother Jeremiah, whose present-day experiences with the carceral system are woven throughout the book. Their relationship brings the frustrations and fickleness of the system into sharp relief. It demonstrates the psychic and financial costs of loving someone who is incarcerated and shows how difficult it is to do something as essential as finding a place to lay one’s head. It’s hard not to see the restrictions on members of the supervised society as intentionally inhumane when considering that homelessness can be a violation of parole.\u003c/p>\n\u003cp>\u003cem>Halfway Home\u003c/em> shines a light on a wide range of absurdities baked into an inherently unjust system. Even though the book’s primary focus is on life after incarceration, Miller makes clear that the problems with the criminal justice system are grounded in history. He tackles everything from 15th-century racial slavery to Bacon’s Rebellion and the invention of whiteness to gentrification and the dramatically reduced life expectancy that results from incarceration.\u003c/p>\n\u003cp>This seminal work tracks the path of how we got here, recognizing that “to live through mass incarceration is to take part in a lineage of control that can be traced from the slave ships, through the Jim Crow South, to the ghettoes of the North, and to the many millions of almost-always-filled bunk beds in jails and prison cells that make the United States the world’s leading jailer.” If we are truly a nation that believes in democracy and freedom, it is incumbent on us to chart a better path forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the popular education manager for Take on Wall Street and a freelance writer. Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Halfway+Home%27+Makes+Case+That+The+Formerly+Incarcerated+Are+Never+Truly+Free&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To say that this nation’s criminal justice system is deeply flawed is to flirt with understatement.\u003c/p>\n\u003cp>Everything from the oversurveillance of Black and Brown communities, to police brutality, to stop and frisk policies, to a multibillion-dollar prison labor industry demonstrates how a system ostensibly designed for fairness is anything but.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892127 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png\" alt=\"\" width=\"275\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM-160x266.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">Perhaps one of the most tragic aspects of this reality, as Reuben Jonathan Miller explores in his impressive new book \u003cem>Halfway Home: Race, Punishment, and the Afterlife of Mass Incarceration\u003c/em>, is that even those who leave incarceration are in many ways never truly free. They instead become members of the “supervised society”—and it is this uniquely disenfranchised population that is the focus of his book.\u003c/p>\n\u003cp>This indictment of the criminal justice system should trouble the soul of the nation. Miller writes in prose that is at once powerful and engaging—and combines an abundance of data with the lived experiences of the people the numbers represent. A sociologist, criminologist, social worker, and former chaplain at Chicago’s Cook County Jail, his insights are partly drawn from having spent 15 years interviewing nearly 250 people caught up in the prison industrial complex. This work included a research project during which he spent three years engaging with 60 men and 30 women after their release from incarceration in Michigan. Miller can also claim far more experiential expertise, because he was “born black and poor in the age of mass incarceration” and, like every Black person he knows, “was stopped by the police a number of times.” He is a scientist armed with statistical information, and he is the son and brother of incarcerated men.\u003c/p>\n\u003cp>Miller is thus more than adequately equipped to make the observation that “no other marginalized group—not poor black people without criminal records, not mothers on welfare, not even undocumented immigrants—experience [the] profound level of legal exclusion” that the formerly imprisoned do. The breadth of these restrictions—which can include everything from being ineligible for student loans or public housing to living in a home that has a foster child—is remarkable. As Miller notes, “Forty-five thousand federal and state laws regulate the lives of the accused…. In Illinois, there are over 1,400, including more than 1,000 employment regulations, 186 policies that limit political participation, 54 laws restricting family rights, and 21 housing statutes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the labyrinthine rules and regulations that govern the lives of the released don’t go away even when they are no longer formally under supervision. Take, for example, the story of Sabrina, told in Miller’s book. Her accomplishments post-release include working on the successful campaign to restore voting rights to people with felony convictions in Florida, an international fellowship, being featured in a documentary, and taking a tour of prisons in Norway. Nonetheless, despite being employed and having strong credit—plus a letter of recommendation from a state representative—Sabrina couldn’t find anyone to rent her an apartment. If an employer wanted to fire Sabrina because of her race or gender, they would be in violation of the law, and she could file a lawsuit. If, however, they wanted to fire her, or anyone else with a felony conviction for that reason alone, they would be completely within their rights to do so.\u003c/p>\n\u003cp>These are among the many reasons that Miller has concluded that:\u003c/p>\n\u003cblockquote>\u003cp>“…the problem of mass incarceration is really a problem of citizenship. This is because citizenship isn’t just about whether or not someone has a set of legal rights. Citizenship is something each of us practices in everyday life. It is made through everyday exchanges and people at every level, because citizenship is about belonging.”\u003c/p>\u003c/blockquote>\n\u003cp>It is long past time we reexamine who we deem as perennially other, and why. When we consider, that “of the 2.3 million people who are incarcerated, 40 percent are black, 84 percent are poor, and half have no income at all” we have to agree that it should be “clear to anyone paying attention that the legal system does not administer anything resembling justice but instead manages the nation’s problemed populations,” Miller writes. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One member of that population is Miller’s older brother Jeremiah, whose present-day experiences with the carceral system are woven throughout the book. Their relationship brings the frustrations and fickleness of the system into sharp relief. It demonstrates the psychic and financial costs of loving someone who is incarcerated and shows how difficult it is to do something as essential as finding a place to lay one’s head. It’s hard not to see the restrictions on members of the supervised society as intentionally inhumane when considering that homelessness can be a violation of parole.\u003c/p>\n\u003cp>\u003cem>Halfway Home\u003c/em> shines a light on a wide range of absurdities baked into an inherently unjust system. Even though the book’s primary focus is on life after incarceration, Miller makes clear that the problems with the criminal justice system are grounded in history. He tackles everything from 15th-century racial slavery to Bacon’s Rebellion and the invention of whiteness to gentrification and the dramatically reduced life expectancy that results from incarceration.\u003c/p>\n\u003cp>This seminal work tracks the path of how we got here, recognizing that “to live through mass incarceration is to take part in a lineage of control that can be traced from the slave ships, through the Jim Crow South, to the ghettoes of the North, and to the many millions of almost-always-filled bunk beds in jails and prison cells that make the United States the world’s leading jailer.” If we are truly a nation that believes in democracy and freedom, it is incumbent on us to chart a better path forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the popular education manager for Take on Wall Street and a freelance writer. Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Halfway+Home%27+Makes+Case+That+The+Formerly+Incarcerated+Are+Never+Truly+Free&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment",
"headTitle": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment | KQED",
"content": "\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>[aside postID='arts_13806398']\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>[aside postID='arts_13810393']\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is San Francisco’s eighth Poet Laureate and the author of the poetry collections ‘Someone’s Dead Already’ and ‘Heaven is All Goodbyes.’ He has a third poetry collection set to be published in the fall of this year.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is San Francisco’s eighth Poet Laureate and the author of the poetry collections ‘Someone’s Dead Already’ and ‘Heaven is All Goodbyes.’ He has a third poetry collection set to be published in the fall of this year.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Joan Didion's 'Let Me Tell You What I Mean' Offers Plenty of 'Journalistic Gold'",
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"content": "\u003cp>In \u003cem>The Center Will Not Hold\u003c/em>, the 2017 documentary about Joan Didion directed by her nephew Griffin Dunne, he asks what she felt when she saw a 5-year-old tripping on LSD while reporting from Haight-Ashbury for her 1967 essay, “Slouching Towards Bethlehem.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891890 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg\" alt=\"\" width=\"200\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc-160x257.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">The automatic response from most people might be, “I was horrified.” But Didion, of course, is not most people. Her answer is chilling: “Well, let me tell you, it was gold…You live for moments like that if you’re doing a piece, good or bad.”\u003c/p>\n\u003cp>There’s plenty of journalistic gold in \u003cem>Let Me Tell You What I Mean,\u003c/em> Didion’s new book of 12 previously uncollected essays. What’s particularly salient is her trademark farsightedness, which is especially striking decades later. Half the pieces date from 1968 and first appeared in the \u003cem>Saturday Evening Post\u003c/em>. The most recent was written in 2000.\u003c/p>\n\u003cp>The opening essay, “Alicia and the Underground Press,” flags “the inability of all of us to speak to one another in any direct way, the failure of American newspapers to ‘get through.'” One of the things Didion appreciates about papers like the \u003cem>East Village Other\u003c/em> and the Los Angeles \u003cem>Free Press\u003c/em> is that they don’t even make a pretense of objectivity: “When a writer for an underground paper approves or disapproves of something, he says so, quite often in lieu of who, what, where, when, how,” she writes. She points out that these publications are often “strident and brash,” and then adds, “But to think that these papers are read for ‘facts’ is to misapprehend their appeal. It is the genius of these papers that they talk directly to their readers.” More than 50 years after she wrote these words, the relevance of her observations in today’s fractured world of fringe media is uncannily prescient.\u003c/p>\n\u003cp>Another bravura performance is Didion’s profile of Martha Stewart, “Everywoman.com,” first published in \u003cem>The New Yorker\u003c/em> in 2000. As as she sees it, Stewart’s genius was in branding herself “not as a Superwoman but as Everywoman,” playing into women’s dreams and fantasies of “getting out of the house with a vengeance, and on your own terms.” On the eve of the IPO of Martha Stewart Living Omnimedia LLC, Didion quotes from the Risk Factors section of its prospectus, which is even more devastating in hindsight:\u003c/p>\n\u003cblockquote>\u003cp>“Our business would be adversely affected if Martha Stewart’s public image or reputation were to be tarnished…Our continued success and the value of our brand name therefore depends, to a large degree, on the reputation of Martha Stewart.”\u003c/p>\u003c/blockquote>\n\u003cp>Didion’s profile was published four years before Stewart was sent to prison after being found guilty of felony charges of conspiracy, perjury and obstruction of justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, “Everywoman.com,” like the other essays collected in \u003cem>Let Me Tell You What I Mean, \u003c/em>is not accompanied by an update or further comment from Didion\u003cem>. \u003c/em>You could argue that the pieces speak for themselves. Hilton Als’ smart foreword offers a welcome overview, though readers who want to encounter her writing fresh, without an intermediary, might want to read it after the essays.\u003c/p>\n\u003cp>Several of the pieces, including “Why I Write” and “Telling Stories,” address Didion’s development as a writer, from honing her craft by turning out crisp copy for \u003cem>Vogue \u003c/em>in the 1950s (“not unlike training with the Rockettes”) to learning to use the first person. “I wanted not a window on the world but the world itself,” she writes of her preference for novels over short stories, and explains, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.”\u003c/p>\n\u003cp>Readers, and especially aspiring writers, will find the rejection letters garnered by Didion’s last stab at short fiction fascinating, while college applicants should find consolation in “On Being Unchosen by the College of One’s Choice.” In revisiting her rejection for admission to Stanford back in 1952, Didion notes that Berkeley “worked out all right” in the end. Her essay ought to be reprinted yearly for each fresh crop of college aspirants and their over-eager parents. Writing in 1968, Didion observes—long before the recent scandalous cases of parents caught willing to do anything to game the system—that compared to when she received her rejection, “Getting into college has become an ugly business.”\u003c/p>\n\u003cp>“Last Words,” Didion’s tribute to Ernest Hemingway, which first appeared in \u003cem>The New Yorker\u003c/em> in 1998, is another standout. Her careful analysis of the “liturgical cadence” and “tension of withheld information” in the 126-word first paragraph of \u003cem>A Farewell to Arms\u003c/em> is a marvel of close reading. Her appreciation says as much about her own work as about Hemingway’s: “The very grammar of a Hemingway sentence dictated, or was dictated by, a certain way of looking at the world, a way of looking but not joining, a way of moving through but not attaching,” she writes with palpable admiration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As these essays demonstrate, Didion, even with her famous detachment, is no slouch at showing us what she means. But however welcome, there’s a wistfulness to this book, for it is impossible to read without wishing Didion were weighing in on how the center still cannot hold and things continue to fall apart in the 21st century.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joan+Didion%27s+%27Let+Me+Tell+You+What+I+Mean%27+Offers+Plenty+Of+%27Journalistic+Gold%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Center Will Not Hold\u003c/em>, the 2017 documentary about Joan Didion directed by her nephew Griffin Dunne, he asks what she felt when she saw a 5-year-old tripping on LSD while reporting from Haight-Ashbury for her 1967 essay, “Slouching Towards Bethlehem.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891890 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg\" alt=\"\" width=\"200\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc-160x257.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">The automatic response from most people might be, “I was horrified.” But Didion, of course, is not most people. Her answer is chilling: “Well, let me tell you, it was gold…You live for moments like that if you’re doing a piece, good or bad.”\u003c/p>\n\u003cp>There’s plenty of journalistic gold in \u003cem>Let Me Tell You What I Mean,\u003c/em> Didion’s new book of 12 previously uncollected essays. What’s particularly salient is her trademark farsightedness, which is especially striking decades later. Half the pieces date from 1968 and first appeared in the \u003cem>Saturday Evening Post\u003c/em>. The most recent was written in 2000.\u003c/p>\n\u003cp>The opening essay, “Alicia and the Underground Press,” flags “the inability of all of us to speak to one another in any direct way, the failure of American newspapers to ‘get through.'” One of the things Didion appreciates about papers like the \u003cem>East Village Other\u003c/em> and the Los Angeles \u003cem>Free Press\u003c/em> is that they don’t even make a pretense of objectivity: “When a writer for an underground paper approves or disapproves of something, he says so, quite often in lieu of who, what, where, when, how,” she writes. She points out that these publications are often “strident and brash,” and then adds, “But to think that these papers are read for ‘facts’ is to misapprehend their appeal. It is the genius of these papers that they talk directly to their readers.” More than 50 years after she wrote these words, the relevance of her observations in today’s fractured world of fringe media is uncannily prescient.\u003c/p>\n\u003cp>Another bravura performance is Didion’s profile of Martha Stewart, “Everywoman.com,” first published in \u003cem>The New Yorker\u003c/em> in 2000. As as she sees it, Stewart’s genius was in branding herself “not as a Superwoman but as Everywoman,” playing into women’s dreams and fantasies of “getting out of the house with a vengeance, and on your own terms.” On the eve of the IPO of Martha Stewart Living Omnimedia LLC, Didion quotes from the Risk Factors section of its prospectus, which is even more devastating in hindsight:\u003c/p>\n\u003cblockquote>\u003cp>“Our business would be adversely affected if Martha Stewart’s public image or reputation were to be tarnished…Our continued success and the value of our brand name therefore depends, to a large degree, on the reputation of Martha Stewart.”\u003c/p>\u003c/blockquote>\n\u003cp>Didion’s profile was published four years before Stewart was sent to prison after being found guilty of felony charges of conspiracy, perjury and obstruction of justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, “Everywoman.com,” like the other essays collected in \u003cem>Let Me Tell You What I Mean, \u003c/em>is not accompanied by an update or further comment from Didion\u003cem>. \u003c/em>You could argue that the pieces speak for themselves. Hilton Als’ smart foreword offers a welcome overview, though readers who want to encounter her writing fresh, without an intermediary, might want to read it after the essays.\u003c/p>\n\u003cp>Several of the pieces, including “Why I Write” and “Telling Stories,” address Didion’s development as a writer, from honing her craft by turning out crisp copy for \u003cem>Vogue \u003c/em>in the 1950s (“not unlike training with the Rockettes”) to learning to use the first person. “I wanted not a window on the world but the world itself,” she writes of her preference for novels over short stories, and explains, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.”\u003c/p>\n\u003cp>Readers, and especially aspiring writers, will find the rejection letters garnered by Didion’s last stab at short fiction fascinating, while college applicants should find consolation in “On Being Unchosen by the College of One’s Choice.” In revisiting her rejection for admission to Stanford back in 1952, Didion notes that Berkeley “worked out all right” in the end. Her essay ought to be reprinted yearly for each fresh crop of college aspirants and their over-eager parents. Writing in 1968, Didion observes—long before the recent scandalous cases of parents caught willing to do anything to game the system—that compared to when she received her rejection, “Getting into college has become an ugly business.”\u003c/p>\n\u003cp>“Last Words,” Didion’s tribute to Ernest Hemingway, which first appeared in \u003cem>The New Yorker\u003c/em> in 1998, is another standout. Her careful analysis of the “liturgical cadence” and “tension of withheld information” in the 126-word first paragraph of \u003cem>A Farewell to Arms\u003c/em> is a marvel of close reading. Her appreciation says as much about her own work as about Hemingway’s: “The very grammar of a Hemingway sentence dictated, or was dictated by, a certain way of looking at the world, a way of looking but not joining, a way of moving through but not attaching,” she writes with palpable admiration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As these essays demonstrate, Didion, even with her famous detachment, is no slouch at showing us what she means. But however welcome, there’s a wistfulness to this book, for it is impossible to read without wishing Didion were weighing in on how the center still cannot hold and things continue to fall apart in the 21st century.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joan+Didion%27s+%27Let+Me+Tell+You+What+I+Mean%27+Offers+Plenty+Of+%27Journalistic+Gold%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Charles Blow's 'The Devil You Know' is a Black Power Manifesto For Our Time",
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"content": "\u003cp>Some time into his new book \u003cem>The Devil You Know: A Black Power Manifesto\u003c/em>, Charles Blow recalls hearing Harry Belafonte give a speech.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891835 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png\" alt=\"\" width=\"275\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM-160x236.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">The subject was Belafonte’s bailout of some student members of the Student Nonviolent Coordinating Committee (SNCC.) Belafonte had raised $70,000 in bail money and called up his best friend Sidney Poitier to help him deliver the money. But it was not easy. Belafonte recalled how he and Poitier were chased by the Ku Klux Klan, whose members accosted them at the airport; Belafonte and Poitier had to take off speeding in a race for their lives.\u003c/p>\n\u003cp>Poitier and Belafonte were, without a doubt, two of the most acclaimed Black stars in America. And this still happened to them. But Belafonte did not end his story at the recounting of this memory of vile racism and terror. Belafonte turned it into a call for action. Facing the audience that Charles Blow sat in, Belafonte asked a simple question: “Where are the radical thinkers?”\u003c/p>\n\u003cp>In the years that passed, Blow found himself haunted by Belafonte’s question. In time, Belafonte’s questions spurred the writing of \u003cem>The Devil You Know, \u003c/em>Charles Blow’s own declaration of radical thought—for Black Americans to reconsider their Great Migration North and imagine new possibilities of Black political might. [aside postid='arts_13881229']\u003c/p>\n\u003cp>Writes Blow: “The proposition is simple. As many Black descendants of the Great Migration as possible should return to the South from which their ancestors fled.” By concentrating their political power in key Southern cities, Blow posits, Black Americans will be able to effect actual social change. “The mission begins with the states, which are the true centers of power in this country, and as such control the lion’s share of the issues that bedevil Black lives: criminal justice, judicial processes, education, health care, economic opportunity and assistance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blow, the author of the memoir \u003cem>Fire Shut Up in My Bones \u003c/em>and a \u003cem>New York Times \u003c/em>columnist, is himself a child of the South who migrated North for employment opportunities, and thus is aptly situated to discuss these ideas. “I was born in 1970 in Louisiana at the end of the Great Migration into a world shaped by vacancy,” Blow writes. “The landscape was specked by empty houses; there was more work than could be done, more jobs than could be filled.”\u003c/p>\n\u003cp>So why, remembering the economic blight of his childhood, does Blow advocate a return to the South?\u003c/p>\n\u003cp>Firstly, Blow argues, the South is no longer an economically depressed region, but an economically thriving part of the country, especially in its major cities. Writes Blow: “In 2018 Forbes compiled a list of ‘The Cities Where African Americans Are Doing the Best Economically” and found many of those cities were in the South. The 15 worst cities for Black Americans were all the destination cities from the Great Migration.”\u003c/p>\n\u003cp>Secondly, the South is home to more than 1,000 of the nation’s 1,200 majority Black cities, home to most of the nation’s Black-owned businesses, has more Black folks in local government than northern cities, and carries an intergenerational Black history, memory and culture that must be honored.\u003c/p>\n\u003cp>But Blow’s main point is this: Racism is everywhere—it’s just about what kind of racism you can live with. And for Blow, Southern racism is preferable to its Northern cousin. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“I often think of racism as having developmental cycles. In the South, it’s an old man. There racism hasn’t vanished (far from it), but it has come to terms with itself. In the North, particularly in destination cities, racism is a teenage boy, acting out as the old man did years ago.”\u003c/p>\u003c/blockquote>\n\u003cp>In cogent arguments bound together by his customary incandescent prose, Blow explores how the white backlash towards the Great Migration that never really ended has created a situation where racism in these Northern “destination cities” of the Great Migration makes life untenable for Black Americans. Through research undertaken by Project Implicit, Blow found there is no difference between anti-Black bias in the North and the South. There are only the ideas that people will admit to out loud. In other words, writes Blow, “white people outside the South say the right words but many possess the same bigotry.” [aside postid='arts_13881489']\u003c/p>\n\u003cp>Consider this: Of the violent deaths of unarmed Black folks at the hands of policemen and white vigilantes, a great many now occur in the North, rather than the South. Eric Garner was killed in New York City. George Floyd in Minneapolis, Minnesota. Philando Castile was killed outside St. Paul, Minnesota. Mike Brown was shot in Ferguson, Missouri. Tamir Rice was gunned down in Cleveland, Ohio. Stephon Clark was killed in Sacramento, California. Freddy Gray was killed in Baltimore, Maryland.\u003c/p>\n\u003cp>The most segregated school systems are no longer in the South—instead, the most segregated school system in the United States is in a city many have long held up as a beacon of diversity and liberalism: New York City.\u003c/p>\n\u003cp>And while the American public imagination remembers the murders of Emmett Till and George Stinney by white supremacy in the South, the North was also an extremely unsafe place for Black Americans of that time as well. The post-World War I migration of Black folks North was followed by violence levied at the new Black arrivals by white Northerners. “So much blood flowed in America’s streets that year that James Weldon Johnson, field secretary of the NAACP dubbed it the ‘Red Summer’ writes Blow of the 1919 Chicago white uprising against the Black citizens of the region. “In ten months, an estimated 250 people were killed—including nearly 100 who were lynched.”\u003c/p>\n\u003cp>Weaving together deeply thought out analysis and in-depth sociological and historical research, Blow details how, as Black folks migrated North, “white people in Chicago found a way to formalize and ensure segregation: restrictive covenants” that made Black people unable to lease, buy, or even use property in certain areas of the city. The result? “By 1939, an estimated 80 percent of all Chicago’s land area was covered by these covenants,” Blow writes. Black Americans in the North suffered racial violence and reductions of rights codified by law—just like Black Americans in the South, but often without the support of extended family and community back home.\u003c/p>\n\u003cp>Blow connects the dots between moments of social advancement for Black Americans and the accompanying white backlash:\u003c/p>\n\u003cblockquote>\u003cp>“Whenever Black people make progress, white people feel threatened and respond forcefully. Emancipation and the Civil War gave rise to the KKK, which formed just months after the war ended. The Supreme Court’s decision in Brown vs. Board of Education striking down racial segregation in schools gave rise to the white supremacist Citizen’s Councils. The election of the first Black president gave rise to the Tea Party, which was formed soon after Barack Obama was sworn in.”\u003c/p>\u003c/blockquote>\n\u003cp>As he discusses the rise of anti-Black violence and the need for safe spaces for Black folks, Blow draws from personal experience, detailing the moment his college student son was held at gunpoint on his Yale campus; how that moment echoed his own experience of being unjustly held at gunpoint by white police officers while in college himself. “He said he could make us lie down in the middle of the road and shoot us in the back of the head, and no one would say anything about it,” Blow writes.\u003c/p>\n\u003cp>But throughout the book, Blow grounds his ideas in this central question: “What could and should Black people do to acquire and maintain the economic and political power—for the many, not just for the few—that the Great Migration failed to secure?”\u003c/p>\n\u003cp>Blow pays special attention to the role of elders in the community as he discusses how the original Great Migration caused a “loss of generational connectedness as an entire young generation left and the South became more of aged society,” adversely affecting both young people and the elders. Here, Blow crafts an homage to the elders in the Black community—from the great-uncle who babysat him to the importance of the example of elders like the 100 year-old Tim Black of Chicago who mentored a young Barack Obama newly arrived to Chicago.\u003c/p>\n\u003cp>It is also important to note the space Blow gives here to Black women social justice leaders who are often ignored, spending time with the mothers of the murdered black children—Samaria Rice, Sybrina Fulton; honoring the work of the great Shirley Chisolm; honoring the work Stacey Abrams. Indeed Abrams’ work, like Belafonte’s call to action, is an impetus of sorts for Blow’s book. “Georgia became the model for how Black people can potentially experience true power in this country and alter the political landscape,” writes Blow in his introduction. [aside postid='arts_13881199']\u003c/p>\n\u003cp>Consider this: Just after the Civil War, Blacks were the majority in three Southern states and within inches of the majority in three more. “If the Great Migration hadn’t happened, and those Black people had remained in the South until the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965, it is possible that African Americans would dominate the politics of the Deep South.” They could have controlled as many as 12 seats in the U.S Senate.\u003c/p>\n\u003cp>Blow does not call himself an activist and does not admit to any political aspiration; since starting his first newspaper in high school he has thought of himself as a newspaperman through and through. His job, writes Blow, is this: “I bear witness. I interpret the world. I record history in real time.”\u003c/p>\n\u003cp>But for Blow, Belafonte’s call still comes through loud and clear. Imagining free Black futures requires radical thought. “In a society and system in which white supremacy is ubiquitous and inveterate, Black people need fierce advocates to help restore the balance in the first instance,” writes Blow. Throughout his legendary career in journalism, Charles Blow has long been that voice. The question is now: Will you join him?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a poet, writer and assistant professor at the University of Nebraska-Lincoln.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charles+Blow%27s+%27The+Devil+You+Know%27+Is+A+Black+Power+Manifesto+For+Our+Time+++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some time into his new book \u003cem>The Devil You Know: A Black Power Manifesto\u003c/em>, Charles Blow recalls hearing Harry Belafonte give a speech.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891835 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png\" alt=\"\" width=\"275\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM-160x236.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">The subject was Belafonte’s bailout of some student members of the Student Nonviolent Coordinating Committee (SNCC.) Belafonte had raised $70,000 in bail money and called up his best friend Sidney Poitier to help him deliver the money. But it was not easy. Belafonte recalled how he and Poitier were chased by the Ku Klux Klan, whose members accosted them at the airport; Belafonte and Poitier had to take off speeding in a race for their lives.\u003c/p>\n\u003cp>Poitier and Belafonte were, without a doubt, two of the most acclaimed Black stars in America. And this still happened to them. But Belafonte did not end his story at the recounting of this memory of vile racism and terror. Belafonte turned it into a call for action. Facing the audience that Charles Blow sat in, Belafonte asked a simple question: “Where are the radical thinkers?”\u003c/p>\n\u003cp>In the years that passed, Blow found himself haunted by Belafonte’s question. In time, Belafonte’s questions spurred the writing of \u003cem>The Devil You Know, \u003c/em>Charles Blow’s own declaration of radical thought—for Black Americans to reconsider their Great Migration North and imagine new possibilities of Black political might. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writes Blow: “The proposition is simple. As many Black descendants of the Great Migration as possible should return to the South from which their ancestors fled.” By concentrating their political power in key Southern cities, Blow posits, Black Americans will be able to effect actual social change. “The mission begins with the states, which are the true centers of power in this country, and as such control the lion’s share of the issues that bedevil Black lives: criminal justice, judicial processes, education, health care, economic opportunity and assistance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blow, the author of the memoir \u003cem>Fire Shut Up in My Bones \u003c/em>and a \u003cem>New York Times \u003c/em>columnist, is himself a child of the South who migrated North for employment opportunities, and thus is aptly situated to discuss these ideas. “I was born in 1970 in Louisiana at the end of the Great Migration into a world shaped by vacancy,” Blow writes. “The landscape was specked by empty houses; there was more work than could be done, more jobs than could be filled.”\u003c/p>\n\u003cp>So why, remembering the economic blight of his childhood, does Blow advocate a return to the South?\u003c/p>\n\u003cp>Firstly, Blow argues, the South is no longer an economically depressed region, but an economically thriving part of the country, especially in its major cities. Writes Blow: “In 2018 Forbes compiled a list of ‘The Cities Where African Americans Are Doing the Best Economically” and found many of those cities were in the South. The 15 worst cities for Black Americans were all the destination cities from the Great Migration.”\u003c/p>\n\u003cp>Secondly, the South is home to more than 1,000 of the nation’s 1,200 majority Black cities, home to most of the nation’s Black-owned businesses, has more Black folks in local government than northern cities, and carries an intergenerational Black history, memory and culture that must be honored.\u003c/p>\n\u003cp>But Blow’s main point is this: Racism is everywhere—it’s just about what kind of racism you can live with. And for Blow, Southern racism is preferable to its Northern cousin. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“I often think of racism as having developmental cycles. In the South, it’s an old man. There racism hasn’t vanished (far from it), but it has come to terms with itself. In the North, particularly in destination cities, racism is a teenage boy, acting out as the old man did years ago.”\u003c/p>\u003c/blockquote>\n\u003cp>In cogent arguments bound together by his customary incandescent prose, Blow explores how the white backlash towards the Great Migration that never really ended has created a situation where racism in these Northern “destination cities” of the Great Migration makes life untenable for Black Americans. Through research undertaken by Project Implicit, Blow found there is no difference between anti-Black bias in the North and the South. There are only the ideas that people will admit to out loud. In other words, writes Blow, “white people outside the South say the right words but many possess the same bigotry.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider this: Of the violent deaths of unarmed Black folks at the hands of policemen and white vigilantes, a great many now occur in the North, rather than the South. Eric Garner was killed in New York City. George Floyd in Minneapolis, Minnesota. Philando Castile was killed outside St. Paul, Minnesota. Mike Brown was shot in Ferguson, Missouri. Tamir Rice was gunned down in Cleveland, Ohio. Stephon Clark was killed in Sacramento, California. Freddy Gray was killed in Baltimore, Maryland.\u003c/p>\n\u003cp>The most segregated school systems are no longer in the South—instead, the most segregated school system in the United States is in a city many have long held up as a beacon of diversity and liberalism: New York City.\u003c/p>\n\u003cp>And while the American public imagination remembers the murders of Emmett Till and George Stinney by white supremacy in the South, the North was also an extremely unsafe place for Black Americans of that time as well. The post-World War I migration of Black folks North was followed by violence levied at the new Black arrivals by white Northerners. “So much blood flowed in America’s streets that year that James Weldon Johnson, field secretary of the NAACP dubbed it the ‘Red Summer’ writes Blow of the 1919 Chicago white uprising against the Black citizens of the region. “In ten months, an estimated 250 people were killed—including nearly 100 who were lynched.”\u003c/p>\n\u003cp>Weaving together deeply thought out analysis and in-depth sociological and historical research, Blow details how, as Black folks migrated North, “white people in Chicago found a way to formalize and ensure segregation: restrictive covenants” that made Black people unable to lease, buy, or even use property in certain areas of the city. The result? “By 1939, an estimated 80 percent of all Chicago’s land area was covered by these covenants,” Blow writes. Black Americans in the North suffered racial violence and reductions of rights codified by law—just like Black Americans in the South, but often without the support of extended family and community back home.\u003c/p>\n\u003cp>Blow connects the dots between moments of social advancement for Black Americans and the accompanying white backlash:\u003c/p>\n\u003cblockquote>\u003cp>“Whenever Black people make progress, white people feel threatened and respond forcefully. Emancipation and the Civil War gave rise to the KKK, which formed just months after the war ended. The Supreme Court’s decision in Brown vs. Board of Education striking down racial segregation in schools gave rise to the white supremacist Citizen’s Councils. The election of the first Black president gave rise to the Tea Party, which was formed soon after Barack Obama was sworn in.”\u003c/p>\u003c/blockquote>\n\u003cp>As he discusses the rise of anti-Black violence and the need for safe spaces for Black folks, Blow draws from personal experience, detailing the moment his college student son was held at gunpoint on his Yale campus; how that moment echoed his own experience of being unjustly held at gunpoint by white police officers while in college himself. “He said he could make us lie down in the middle of the road and shoot us in the back of the head, and no one would say anything about it,” Blow writes.\u003c/p>\n\u003cp>But throughout the book, Blow grounds his ideas in this central question: “What could and should Black people do to acquire and maintain the economic and political power—for the many, not just for the few—that the Great Migration failed to secure?”\u003c/p>\n\u003cp>Blow pays special attention to the role of elders in the community as he discusses how the original Great Migration caused a “loss of generational connectedness as an entire young generation left and the South became more of aged society,” adversely affecting both young people and the elders. Here, Blow crafts an homage to the elders in the Black community—from the great-uncle who babysat him to the importance of the example of elders like the 100 year-old Tim Black of Chicago who mentored a young Barack Obama newly arrived to Chicago.\u003c/p>\n\u003cp>It is also important to note the space Blow gives here to Black women social justice leaders who are often ignored, spending time with the mothers of the murdered black children—Samaria Rice, Sybrina Fulton; honoring the work of the great Shirley Chisolm; honoring the work Stacey Abrams. Indeed Abrams’ work, like Belafonte’s call to action, is an impetus of sorts for Blow’s book. “Georgia became the model for how Black people can potentially experience true power in this country and alter the political landscape,” writes Blow in his introduction. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider this: Just after the Civil War, Blacks were the majority in three Southern states and within inches of the majority in three more. “If the Great Migration hadn’t happened, and those Black people had remained in the South until the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965, it is possible that African Americans would dominate the politics of the Deep South.” They could have controlled as many as 12 seats in the U.S Senate.\u003c/p>\n\u003cp>Blow does not call himself an activist and does not admit to any political aspiration; since starting his first newspaper in high school he has thought of himself as a newspaperman through and through. His job, writes Blow, is this: “I bear witness. I interpret the world. I record history in real time.”\u003c/p>\n\u003cp>But for Blow, Belafonte’s call still comes through loud and clear. Imagining free Black futures requires radical thought. “In a society and system in which white supremacy is ubiquitous and inveterate, Black people need fierce advocates to help restore the balance in the first instance,” writes Blow. Throughout his legendary career in journalism, Charles Blow has long been that voice. The question is now: Will you join him?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a poet, writer and assistant professor at the University of Nebraska-Lincoln.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charles+Blow%27s+%27The+Devil+You+Know%27+Is+A+Black+Power+Manifesto+For+Our+Time+++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'When You Trap a Tiger' and 'We Are Water Protectors' Win Top Children's Book Honors",
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"content": "\u003cp>America’s librarians announced their top children’s book picks virtually on Monday—awarding the 2021 Newbery and Caldecott medals, among several other honors.\u003c/p>\n\u003cp>The John Newbery Medal for the most distinguished children’s book in 2020 went to \u003cem>When You Trap A Tiger,\u003c/em> by Tae Keller. The book’s central character is a girl, Lily, whose family moves in with her dying grandmother—and a tiger from Korean folklore shows up looking for something that was stolen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891748 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-800x1215.jpg\" alt=\"\" width=\"800\" height=\"1215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1011x1536.jpg 1011w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>All Thirteen: The Incredible Cave Rescue of the Thai Boys’ Soccer Team\u003c/em> by Christina Soontornvat, \u003cem>BOX: Henry Brown Mails Himself to Freedom\u003c/em> by Carole Boston Weatherford and illustrated by Michele Wood, \u003cem>Fighting Words\u003c/em> by Kimberly Brubaker Bradley, \u003cem>We Dream of Space\u003c/em> by Erin Entrada Kelly and \u003cem>A Wish in the Dark\u003c/em> by Christina Soontornvat won Newbery honors.\u003c/p>\n\u003cp>The Randolph Caldecott Medal, which the American Library Association awards to the most distinguished American picture book for children, went to \u003cem>We Are Water Protectors \u003c/em>illustrated by Michaela Goade and written by Carole Lindstrom. The book stresses the urgent need to take care of Earth’s water.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891749 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224.jpg 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Other Caldecott honor books were: \u003cem>A Place Inside of Me: A Poem to Heal the Heart, \u003c/em>illustrated by Noa Denmon and written by Zetta Elliott; \u003cem>The Cat Man of Aleppo,\u003c/em> illustrated by Yuko Shimizu and written by Irene Latham & Karim Shamsi-Basha; \u003cem>Me & Mama\u003c/em> illustrated and written by Cozbi A. Cabrera; and \u003cem>Outside In\u003c/em>, illustrated by Cindy Derby and written by Deborah Underwood.\u003c/p>\n\u003cp>ALA’s Youth Media Awards include many other honors, as well, such as the Coretta Scott King Award, which was awarded to \u003cem>Before the Ever After,\u003c/em> by Jacqueline Woodson.\u003c/p>\n\u003cp>In 2020, the Newbury was awarded to \u003cem>New Kid,\u003c/em> written and illustrated by Jerry Craft. The book centers on seventh grader Jordan Banks, who transfers schools and sees privilege all around him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, the Caldecott medal went to \u003cem>The Undefeated,\u003c/em> illustrated by Kadir Nelson and written by Kwame Alexander, which focuses on the Black experience.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+You+Trap+A+Tiger%27+And+%27We+Are+Water+Protectors%27+Win+Top+Children%27s+Book+Honors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891749 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224.jpg 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Other Caldecott honor books were: \u003cem>A Place Inside of Me: A Poem to Heal the Heart, \u003c/em>illustrated by Noa Denmon and written by Zetta Elliott; \u003cem>The Cat Man of Aleppo,\u003c/em> illustrated by Yuko Shimizu and written by Irene Latham & Karim Shamsi-Basha; \u003cem>Me & Mama\u003c/em> illustrated and written by Cozbi A. Cabrera; and \u003cem>Outside In\u003c/em>, illustrated by Cindy Derby and written by Deborah Underwood.\u003c/p>\n\u003cp>ALA’s Youth Media Awards include many other honors, as well, such as the Coretta Scott King Award, which was awarded to \u003cem>Before the Ever After,\u003c/em> by Jacqueline Woodson.\u003c/p>\n\u003cp>In 2020, the Newbury was awarded to \u003cem>New Kid,\u003c/em> written and illustrated by Jerry Craft. The book centers on seventh grader Jordan Banks, who transfers schools and sees privilege all around him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, the Caldecott medal went to \u003cem>The Undefeated,\u003c/em> illustrated by Kadir Nelson and written by Kwame Alexander, which focuses on the Black experience.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+You+Trap+A+Tiger%27+And+%27We+Are+Water+Protectors%27+Win+Top+Children%27s+Book+Honors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After Inaugural Performance, Poet Amanda Gorman Tops the Amazon Bestseller List",
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"content": "\u003cp>The morning after her powerful performance of “The Hill We Climb” at the inauguration of President Biden, poet Amanda Gorman hit another high point: She took the top two slots on Amazon’s bestseller list—for titles that won’t be out until the fall.\u003c/p>\n\u003cp>At No. 1 is her debut poetry collection, also called \u003ca href=\"https://www.penguinrandomhouse.com/books/688816/the-hill-we-climb-by-amanda-gorman/9780593465066/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hill We Climb\u003c/em>\u003c/a>, and at No. 2 is a picture book called \u003ca href=\"https://www.penguinrandomhouse.com/books/634480/change-sings-by-amanda-gorman-illustrated-by-loren-long/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Change Sings: A Children’s Anthem\u003c/em>\u003c/a>, illustrated by Loren Long, both set to come out in September.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/biden-transition-updates/2021/01/19/958077401/history-has-its-eyes-on-us-poet-amanda-gorman-seeks-right-words-for-inauguration\" target=\"_blank\" rel=\"noopener noreferrer\">Gorman told NPR’s Steve Inskeep\u003c/a> that she struggled with her inaugural poem at first, “because you don’t even really know the entry point in which to step into the murk.” But the insurrection at the Capitol on Jan. 6 spurred her to finish. “I was like, ‘Well, this is something we need to talk about.’ ”\u003c/p>\n\u003cp>The poem—which hit a range of notes from Scripture to \u003cem>Hamilton—\u003c/em>drew widespread praise. NPR poetry critic Craig Morgan Teicher called it “\u003ca href=\"https://www.npr.org/2021/01/21/958853210/a-different-day-a-2021-poetry-preview-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">beautiful\u003c/a>,” and Gorman had this memorable Twitter exchange with \u003cem>Hamilton\u003c/em> creator Lin-Manuel Miranda:\u003c/p>\n\u003cp>https://twitter.com/Lin_Manuel/status/1351954141111865347\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gorman has some interestingly inaugural-themed company on the list. At No. 3 is \u003cem>Ambitious Girl\u003c/em>, a picture book by Meena Harris, niece of the new vice president. \u003ca href=\"https://www.npr.org/2021/01/09/954750510/ambitious-girl-reminds-kids-your-dreams-are-not-a-drawback\" target=\"_blank\" rel=\"noopener noreferrer\">Harris told NPR’s Michel Martin\u003c/a> the book was inspired by her Aunt Kamala, who was criticized for being “too ambitious” on the campaign trail.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And just behind \u003cem>Ambitious Girl\u003c/em> is former President Barack Obama’s memoir \u003ca href=\"https://www.npr.org/2020/11/12/933894064/former-president-obama-tells-his-story-his-way-and-makes-his-case-for-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Promised Land\u003c/em>\u003c/a>, one of the bestselling books of 2020 and still going strong in the new year.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Inaugural+Performance%2C+Poet+Amanda+Gorman+Tops+The+Amazon+Bestseller+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The morning after her powerful performance of “The Hill We Climb” at the inauguration of President Biden, poet Amanda Gorman hit another high point: She took the top two slots on Amazon’s bestseller list—for titles that won’t be out until the fall.\u003c/p>\n\u003cp>At No. 1 is her debut poetry collection, also called \u003ca href=\"https://www.penguinrandomhouse.com/books/688816/the-hill-we-climb-by-amanda-gorman/9780593465066/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hill We Climb\u003c/em>\u003c/a>, and at No. 2 is a picture book called \u003ca href=\"https://www.penguinrandomhouse.com/books/634480/change-sings-by-amanda-gorman-illustrated-by-loren-long/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Change Sings: A Children’s Anthem\u003c/em>\u003c/a>, illustrated by Loren Long, both set to come out in September.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/biden-transition-updates/2021/01/19/958077401/history-has-its-eyes-on-us-poet-amanda-gorman-seeks-right-words-for-inauguration\" target=\"_blank\" rel=\"noopener noreferrer\">Gorman told NPR’s Steve Inskeep\u003c/a> that she struggled with her inaugural poem at first, “because you don’t even really know the entry point in which to step into the murk.” But the insurrection at the Capitol on Jan. 6 spurred her to finish. “I was like, ‘Well, this is something we need to talk about.’ ”\u003c/p>\n\u003cp>The poem—which hit a range of notes from Scripture to \u003cem>Hamilton—\u003c/em>drew widespread praise. NPR poetry critic Craig Morgan Teicher called it “\u003ca href=\"https://www.npr.org/2021/01/21/958853210/a-different-day-a-2021-poetry-preview-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">beautiful\u003c/a>,” and Gorman had this memorable Twitter exchange with \u003cem>Hamilton\u003c/em> creator Lin-Manuel Miranda:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gorman has some interestingly inaugural-themed company on the list. At No. 3 is \u003cem>Ambitious Girl\u003c/em>, a picture book by Meena Harris, niece of the new vice president. \u003ca href=\"https://www.npr.org/2021/01/09/954750510/ambitious-girl-reminds-kids-your-dreams-are-not-a-drawback\" target=\"_blank\" rel=\"noopener noreferrer\">Harris told NPR’s Michel Martin\u003c/a> the book was inspired by her Aunt Kamala, who was criticized for being “too ambitious” on the campaign trail.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And just behind \u003cem>Ambitious Girl\u003c/em> is former President Barack Obama’s memoir \u003ca href=\"https://www.npr.org/2020/11/12/933894064/former-president-obama-tells-his-story-his-way-and-makes-his-case-for-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Promised Land\u003c/em>\u003c/a>, one of the bestselling books of 2020 and still going strong in the new year.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Inaugural+Performance%2C+Poet+Amanda+Gorman+Tops+The+Amazon+Bestseller+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the 1840s, Elizabeth Blackwell was admitted to a U.S. medical school—in part because the male students thought her application was part of an elaborate prank. She persisted and got her degree, becoming the first American woman to do so. A few years later, her younger sister Emily followed in her footsteps, earning her own medical degree from the institution that would become Case Western Reserve University in Cleveland.\u003c/p>\n\u003cp>Biographer Janice Nimura tells the sisters’ story in the new book, \u003cem>The Doctors Blackwell. \u003c/em>Nimura says Elizabeth was “greeted with everything from rejection to hilarity” during her years at Geneva Medical College in upstate New York.\u003c/p>\n\u003cp>“There was the basic idea that a woman’s sphere did not include anything professional,” Nimura says. “The townspeople [of Geneva] basically thought that any woman who wanted to study medicine was either wicked or insane.” [aside postid='arts_13877186']\u003c/p>\n\u003cp>Nimura notes that even after graduation, the Blackwell sisters struggled to find patients. “The idea of a female physician—the very phrase ‘female physician’—connoted an abortionist—someone who worked in the shadows, on the wrong side of the law,” she says.\u003c/p>\n\u003cp>Elizabeth’s career tended to focus on public health and education, while Emily was a more active medical practitioner, functioning as both a surgeon and an obstetrician. In 1857, the sisters helped established the New York Infirmary for Indigent Women and Children. Twelve years later, in 1869, they established the Women’s Medical College in New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, both women are regarded as feminist trailblazers, but Nimura notes that they were also “complicated, prickly, sometimes self-contradictory people.” Elizabeth, for instance, regarded the women of her day as trifling gossips and took a dim view of the women’s suffrage movement.\u003c/p>\n\u003cp>“To me, that taught me that it’s really important in this moment to kind of relearn how to admire women,” Nimura says. “To understand that a heroine doesn’t always have to be a Disney princess, but can be a woman with all sorts of rough edges and complications and that we can admire them profoundly anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13891472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg\" alt=\"The book cover of 'The Doctors Blackwell,' by Janice Nimura, featuring the two sisters.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Doctors Blackwell,’ by Janice Nimura \u003ccite>(WW Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the reasons that were given for excluding women from becoming doctors\u003c/strong>\u003c/p>\n\u003cp>There was the idea that if you let a woman go to medical school, she’s going to be sitting in a lecture hall alongside men talking about the human body, and that’s not proper. That’s appalling. Especially when you get to certain systems of the body. … And then there was the idea that medical education increasingly included anatomy and dissection. And the idea of a woman with her hands in a corpse was impossible. No woman worthy of the title “woman” would want to be that person with her hands in a body. So for all those reasons, it was just impossible. It really wasn’t a matter of, “Are you good enough?” it was, “You’re female. This is impossible.”\u003c/p>\n\u003cp>\u003cstrong>On how the professors at Geneva Medical College allowed the students to decide whether or not to accept Elizabeth Blackwell as a medical student \u003c/strong>[aside postid='arts_13879147']\u003c/p>\n\u003cp>The students—recognizing that A) their professors were cowards, and B) this was an opportunity to make serious mischief—had a meeting that night and basically beat any dissenters into submission and presented a unanimous front the next morning that, yes, we definitely want this … “lady” medical student [to study with us]. The students assumed that it was a prank being played by a neighboring medical school. This was a fairly unpolished group of provincial boys, and they were seeing the opportunity for some good fun. And then they sent their response back to their faculty and forgot about it until several weeks later—a young woman walked into the lecture hall.\u003c/p>\n\u003cp>\u003cstrong>On Elizabeth Blackwell not looking favorably on the women’s suffrage movement, which was happening while she was in medical school \u003c/strong>\u003c/p>\n\u003cp>The medical school that she ended up in was in Geneva, N.Y., right near Seneca Falls, in the Finger Lakes. She was right there. And yet she really looked sideways at those women, who really wanted to recruit her to their side. She was doing something very visible and very stunning, and they really wanted her to be part of their movement. She laughed in a way—or at least scorned what they were trying to invite her to do. I think she called the Seneca Falls conference “the Seneca Falls absurdity.” She really believed that there was different work to do first. And she chose medicine because it was an unusually graphic way to prove this idea that women could do what they wanted to do by virtue of toil and talent, not anything to do with their sex.\u003c/p>\n\u003cp>\u003cstrong>On how it was for Emily Blackwell, following in her sister’s footsteps \u003c/strong>\u003c/p>\n\u003cp>Geneva College itself, having given Elizabeth a degree at the top of the class, politely but firmly said, ‘Emily, we are not interested in having you here as a student. We’ve had enough with women medical students.’ The issue was that just at the time that Elizabeth was receiving her medical degree, women’s medical colleges were beginning to open, because there were more than just these two women who were interested in receiving medical degrees.\u003c/p>\n\u003cp>But the world was so horrified at the idea of men and women studying medicine together that in Philadelphia and in Boston, women’s medical colleges had opened. So if you were a woman who wanted to pursue medicine, that was the obvious thing to do. It was much easier for the male medical colleges to reject you because they could say, ‘Why do you need to come here? Go there. That’s for you.’\u003c/p>\n\u003cp>Emily, though, and Elizabeth, did not esteem these women’s medical colleges highly at all. They just concluded that any women’s medical college is going to be, by definition, inferior, mediocre—that a truly impressive degree would only be earned from a men’s medical college. [aside postid='arts_13870056']\u003c/p>\n\u003cp>So Emily was not going to be bested by her sister and take a degree from a women’s medical college. So she struggled and received, I would say, more rejections than Elizabeth, because the Blackwell name was now a thing. But she insisted and eventually found her way to a place at Rush Medical College in Chicago, which was wonderful. And she had a wonderful year there. And she found a wonderful patron among the faculty and was doing great until he decided to take a sabbatical. And the trustees of Rush said, ‘Could you please not come back for the second term? Thanks.’\u003c/p>\n\u003cp>And so she was left high and dry and—being just as determined as Elizabeth—managed to get herself to a place at Cleveland Medical College, which is now Case Western, to finish her second term and receive her diploma. She was just as much of a force.\u003c/p>\n\u003cp>\u003cstrong>On Emily’s legacy more in the practice and Elizabeth more as a writer about public health \u003c/strong>\u003c/p>\n\u003cp>They died within months of each other in 1910. There was a huge gathering at the New York Academy of Medicine to honor their lives, and the speakers honored both of them, of course—honored Elizabeth’s pioneering achievement.\u003c/p>\n\u003cp>But none of the speakers had known Elizabeth in the last 40 years because she’d been gone [in England], and all of them had a deeper professional connection to Emily as this major figure in the New York medical scene. And, so, when you read the eulogies that happened that day, the eulogies for Elizabeth were rather more formal, talking about her as if she was sort of an idea more than a person. But the eulogies for Emily were really warm and and deeply respectful and admiring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Deborah Franklin adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Doctors+Blackwell%27+Tells+The+Story+Of+2+Pioneering+Sisters+Who+Changed+Medicine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, both women are regarded as feminist trailblazers, but Nimura notes that they were also “complicated, prickly, sometimes self-contradictory people.” Elizabeth, for instance, regarded the women of her day as trifling gossips and took a dim view of the women’s suffrage movement.\u003c/p>\n\u003cp>“To me, that taught me that it’s really important in this moment to kind of relearn how to admire women,” Nimura says. “To understand that a heroine doesn’t always have to be a Disney princess, but can be a woman with all sorts of rough edges and complications and that we can admire them profoundly anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13891472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg\" alt=\"The book cover of 'The Doctors Blackwell,' by Janice Nimura, featuring the two sisters.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Doctors Blackwell,’ by Janice Nimura \u003ccite>(WW Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the reasons that were given for excluding women from becoming doctors\u003c/strong>\u003c/p>\n\u003cp>There was the idea that if you let a woman go to medical school, she’s going to be sitting in a lecture hall alongside men talking about the human body, and that’s not proper. That’s appalling. Especially when you get to certain systems of the body. … And then there was the idea that medical education increasingly included anatomy and dissection. And the idea of a woman with her hands in a corpse was impossible. No woman worthy of the title “woman” would want to be that person with her hands in a body. So for all those reasons, it was just impossible. It really wasn’t a matter of, “Are you good enough?” it was, “You’re female. This is impossible.”\u003c/p>\n\u003cp>\u003cstrong>On how the professors at Geneva Medical College allowed the students to decide whether or not to accept Elizabeth Blackwell as a medical student \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The students—recognizing that A) their professors were cowards, and B) this was an opportunity to make serious mischief—had a meeting that night and basically beat any dissenters into submission and presented a unanimous front the next morning that, yes, we definitely want this … “lady” medical student [to study with us]. The students assumed that it was a prank being played by a neighboring medical school. This was a fairly unpolished group of provincial boys, and they were seeing the opportunity for some good fun. And then they sent their response back to their faculty and forgot about it until several weeks later—a young woman walked into the lecture hall.\u003c/p>\n\u003cp>\u003cstrong>On Elizabeth Blackwell not looking favorably on the women’s suffrage movement, which was happening while she was in medical school \u003c/strong>\u003c/p>\n\u003cp>The medical school that she ended up in was in Geneva, N.Y., right near Seneca Falls, in the Finger Lakes. She was right there. And yet she really looked sideways at those women, who really wanted to recruit her to their side. She was doing something very visible and very stunning, and they really wanted her to be part of their movement. She laughed in a way—or at least scorned what they were trying to invite her to do. I think she called the Seneca Falls conference “the Seneca Falls absurdity.” She really believed that there was different work to do first. And she chose medicine because it was an unusually graphic way to prove this idea that women could do what they wanted to do by virtue of toil and talent, not anything to do with their sex.\u003c/p>\n\u003cp>\u003cstrong>On how it was for Emily Blackwell, following in her sister’s footsteps \u003c/strong>\u003c/p>\n\u003cp>Geneva College itself, having given Elizabeth a degree at the top of the class, politely but firmly said, ‘Emily, we are not interested in having you here as a student. We’ve had enough with women medical students.’ The issue was that just at the time that Elizabeth was receiving her medical degree, women’s medical colleges were beginning to open, because there were more than just these two women who were interested in receiving medical degrees.\u003c/p>\n\u003cp>But the world was so horrified at the idea of men and women studying medicine together that in Philadelphia and in Boston, women’s medical colleges had opened. So if you were a woman who wanted to pursue medicine, that was the obvious thing to do. It was much easier for the male medical colleges to reject you because they could say, ‘Why do you need to come here? Go there. That’s for you.’\u003c/p>\n\u003cp>Emily, though, and Elizabeth, did not esteem these women’s medical colleges highly at all. They just concluded that any women’s medical college is going to be, by definition, inferior, mediocre—that a truly impressive degree would only be earned from a men’s medical college. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Emily was not going to be bested by her sister and take a degree from a women’s medical college. So she struggled and received, I would say, more rejections than Elizabeth, because the Blackwell name was now a thing. But she insisted and eventually found her way to a place at Rush Medical College in Chicago, which was wonderful. And she had a wonderful year there. And she found a wonderful patron among the faculty and was doing great until he decided to take a sabbatical. And the trustees of Rush said, ‘Could you please not come back for the second term? Thanks.’\u003c/p>\n\u003cp>And so she was left high and dry and—being just as determined as Elizabeth—managed to get herself to a place at Cleveland Medical College, which is now Case Western, to finish her second term and receive her diploma. She was just as much of a force.\u003c/p>\n\u003cp>\u003cstrong>On Emily’s legacy more in the practice and Elizabeth more as a writer about public health \u003c/strong>\u003c/p>\n\u003cp>They died within months of each other in 1910. There was a huge gathering at the New York Academy of Medicine to honor their lives, and the speakers honored both of them, of course—honored Elizabeth’s pioneering achievement.\u003c/p>\n\u003cp>But none of the speakers had known Elizabeth in the last 40 years because she’d been gone [in England], and all of them had a deeper professional connection to Emily as this major figure in the New York medical scene. And, so, when you read the eulogies that happened that day, the eulogies for Elizabeth were rather more formal, talking about her as if she was sort of an idea more than a person. But the eulogies for Emily were really warm and and deeply respectful and admiring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)[aside postID='arts_13806398']\u003c/p>\n\u003cp>“San Francisco has legends too fearless for me to count myself as one of them, but I am from this collection of thousands and thousands of participants in revolutionary history and culture,” Eisen-Martin said in his inaugural address. “What the people here taught me is that unity is the only thing, and that individualism as it is practiced, codified, and romanticized… at its core is about selective humanization.” \u003c/p>\n\u003cp>Tongo Eisen-Martin described himself and his work as “an absolute product of every nook and cranny of San Francisco,” adding that “as deep into the various communities of the city as our poets have already brought the craft, I want to push even further into places where poetry has not yet permeated.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eisen-Martin has certainly pushed the boundaries of that permeation throughout his career, utilizing art and poetry in his education and movement work. His curriculum on the extrajudicial killing of Black people, \u003cem>We Charge Genocide Again!\u003c/em> at the Institute for Research in African American Studies at Columbia University, has been taught across the nation, and he has taught at various detention centers throughout the United States.\u003c/p>\n\u003cp>In his time as Poet Laureate, Eisen-Martin intends to organize poetry reading circles in Sunnydale, Bayview-Hunters Point, and the Tenderloin, as well as seek out and foster San Francisco artists from marginalized communities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eisen-Martin’s as-yet-titled second book in the City Lights Pocket Poet series will be released in the fall of 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)\u003c/p>\u003c/div>",
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"content": "\u003cp>While primarily known for his work in civil rights and his passion for community service, Dr. Martin Luther King Jr. also had a lesser known passion for jazz music, citing it as the source of “much of the power of our Freedom Movement in the United States.” This MLK holiday weekend, Living Jazz honors the life and legacy of King by bringing together his passions and utilizing music for philanthropy, with a star-studded lineup of artists, musicians, spoken word poets and more in their 19th Annual Musical Tribute “\u003ca href=\"https://www.livingjazz.org/mlktribute\">In The Name of Love\u003c/a>.”\u003c/p>\n\u003cp>Featuring performances by musicians Toshi Reagon and Allison Miller, the Grammy-winning Kronos Quartet, Bay Area-based singer-songwriters Meklit and the Dynamic Miss Faye Carol and others, the evening offers a diverse array of musical talent across the Bay Area.[aside postID='arts_13819256']\u003c/p>\n\u003cp>Just days after delivering remarks at a \u003ca href=\"https://lee.house.gov/news/press-releases/icymi-congresswoman-barbara-lee-delivers-remarks-in-congressional-black-caucus-hearing-on-white-supremacy-at-us-capitol-riots\">Congressional Black Caucus hearing on white supremacy\u003c/a> in light of the January 6 capitol riots, Congresswoman Barbara Lee will present the Oakland Citizen Humanitarian Award to Dr. Noha Aboelata, the founder and CEO of Roots Clinic, an East Oakland-based community health organization focused on ending health disparities. In the past year in particular, Roots’ work has been essential, with an expansion of services that includes free walk-up COVID testing in a neighborhood hit especially hard by the pandemic.\u003c/p>\n\u003cp>In the interest of accessibility, Living Jazz is offering “pay what you can” ticket prices, with all proceeds going to the \u003ca href=\"https://www.livingjazz.org/childrens-project\">Living Jazz Children’s Project\u003c/a>. The Living Jazz Children’s Project (LJCP) reaches 400 second- and third-graders from low-income public elementary schools each year, and has provided virtual classes during the COVID-19 pandemic to support students through the joy of music as they continue online learning. Launched in 2005, LJCP brings a full year of music and performance education to schools with little or no access to the arts, meeting a critical need in a district with pervasive issues of inequity.\u003c/p>\n\u003cp>\u003cem>“In the Name of Love” streams online on Sunday, Jan. 17, from 4pm-6pm. \u003ca href=\"https://www.livingjazz.org/mlktribute\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When she got out of jail, and said, ‘You freed me, now it’s time to free all political prisoners and advocate for social justice, anticapitalist, antiracist practices,’ she never wavered once.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When she got out of jail, and said, ‘You freed me, now it’s time to free all political prisoners and advocate for social justice, anticapitalist, antiracist practices,’ she never wavered once.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "outlawed-the-handmaids-tale-meets-butch-cassidy-in-this-smart-western",
"title": "'Outlawed': 'The Handmaid's Tale' meets 'Butch Cassidy' in This Smart Western",
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"headTitle": "‘Outlawed’: ‘The Handmaid’s Tale’ meets ‘Butch Cassidy’ in This Smart Western | KQED",
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"content": "\u003cp>Talking to friends this past week, I’ve described Anna North’s new novel, \u003cem>Outlawed\u003c/em>, as \u003cem>The Handmaid’s Tale\u003c/em> meets \u003cem>Butch Cassidy and the Sundance Kid\u003c/em>. That’s a glib tagline, but there’s some justification for it.\u003c/p>\n\u003cp>\u003cem>Outlawed \u003c/em>opens in an alternative America of 1894 that was torn asunder by a flu epidemic some 60 years earlier. West of the Mississippi, centralized government has been replaced by a patchwork of Independent Towns. One of the few things this fragmented America agrees on is that women are put on Earth to bear children. That’s it. And, because too much knowledge, especially medical knowledge of women’s bodies, is frowned upon, “barren” women are regarded as freaks of nature, witches; they’re ostracized, imprisoned and sometimes put to death.\u003c/p>\n\u003cp>That status quo is pretty much okay with the heroine of \u003cem>Outlawed\u003c/em>, a 17-year-old woman named Ada. She’s content to be married off to a man chosen for her and settles in to await her first pregnancy—which fails to happen. In less than a year, Ada is expelled from her husband’s house and, after a few twists of fate, joins up with the infamous Hole in the Wall Gang.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890875 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png\" alt=\"\" width=\"384\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM-160x238.png 160w\" sizes=\"auto, (max-width: 384px) 100vw, 384px\">\u003c/p>\n\u003cp>In North’s novel, that real-life band of 19th-century gunslingers is reimagined as a group of outlaws who identify as female or non-binary. They’re led by a messianic figure called “The Kid.” In finding a home with the gang, Ada comes to realize that sexual desire can roam as wide and free as deer and buffalo on the range.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Outlawed\u003c/em>, in this quick summary, can sound gimmicky, but there’s much more going on in this smart adventure tale than just a sly upending of the traditional Western, rooted in macho individualism and violence. For all the ways North ingeniously stretches the limits of the genre, she’s also clearly a fan. She doesn’t shy away from the expected gunfights and her rendering of such scenes is jittery and absorbing; but, North also dwells on the bloody aftermath of these shootouts and the damage that bullets do to the body. [aside postid='arts_13831050']\u003c/p>\n\u003cp>In common with writers of classic Westerns, North also evokes the rugged landscape of the West, especially the area around the gang’s hideout with its salt flats, prairie dog burrows, and notched “wall of bright red rock many stories high” that gives The Hole in the Wall Gang its name. It’s there that the final showdown between the gang and the posse of lawmen who are pursuing them will take place.\u003c/p>\n\u003cp>Most of all, though, it’s the affecting character of Ada who’s the steady draw here. Once Fate tosses her out of her complacent life, Ada, in the time-honored tradition of the Western, becomes a hunter. Like Mattie Ross in\u003cem> True Grit\u003c/em> or, dare I say Ethan Edwards, in the vexed John Ford film, \u003cem>The Searchers\u003c/em>, Ada is on the trail, not of someone, but of something. She wants medical knowledge of women’s bodies.\u003c/p>\n\u003cp>Ada joins the gang for protection, but also to get loot from the hold-ups to be able to travel and study with a master midwife she’s heard about, a woman who practices farther west. Ada aims to save other infertile women from being ostracized or murdered. There’s a moment, after she settles in with the gang, when Ada almost decides to stay put. She tells us:\u003c/p>\n\u003cblockquote>\u003cp>I saw how the valley, now blooming into beauty after the long winter, could feel like home. What I had planned instead was so amorphous and uncertain. …\u003c/p>\n\u003cp>But if I stayed in the valley, I would learn no more about myself or people like me than I had known when I left … I would die without knowing what made me the way I was.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The heroes of the traditional Western were always sure about what made them the way they were; what made a man a man. For Ada and the other “outlaws” of this spirited novel, the frontiers of gender and sexuality beckon to be explored.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Outlawed%27+Frontiers+Of+Gender+And+Sexuality+Beckon+In+This+Sly+Western&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Talking to friends this past week, I’ve described Anna North’s new novel, \u003cem>Outlawed\u003c/em>, as \u003cem>The Handmaid’s Tale\u003c/em> meets \u003cem>Butch Cassidy and the Sundance Kid\u003c/em>. That’s a glib tagline, but there’s some justification for it.\u003c/p>\n\u003cp>\u003cem>Outlawed \u003c/em>opens in an alternative America of 1894 that was torn asunder by a flu epidemic some 60 years earlier. West of the Mississippi, centralized government has been replaced by a patchwork of Independent Towns. One of the few things this fragmented America agrees on is that women are put on Earth to bear children. That’s it. And, because too much knowledge, especially medical knowledge of women’s bodies, is frowned upon, “barren” women are regarded as freaks of nature, witches; they’re ostracized, imprisoned and sometimes put to death.\u003c/p>\n\u003cp>That status quo is pretty much okay with the heroine of \u003cem>Outlawed\u003c/em>, a 17-year-old woman named Ada. She’s content to be married off to a man chosen for her and settles in to await her first pregnancy—which fails to happen. In less than a year, Ada is expelled from her husband’s house and, after a few twists of fate, joins up with the infamous Hole in the Wall Gang.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890875 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png\" alt=\"\" width=\"384\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM-160x238.png 160w\" sizes=\"auto, (max-width: 384px) 100vw, 384px\">\u003c/p>\n\u003cp>In North’s novel, that real-life band of 19th-century gunslingers is reimagined as a group of outlaws who identify as female or non-binary. They’re led by a messianic figure called “The Kid.” In finding a home with the gang, Ada comes to realize that sexual desire can roam as wide and free as deer and buffalo on the range.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Outlawed\u003c/em>, in this quick summary, can sound gimmicky, but there’s much more going on in this smart adventure tale than just a sly upending of the traditional Western, rooted in macho individualism and violence. For all the ways North ingeniously stretches the limits of the genre, she’s also clearly a fan. She doesn’t shy away from the expected gunfights and her rendering of such scenes is jittery and absorbing; but, North also dwells on the bloody aftermath of these shootouts and the damage that bullets do to the body. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In common with writers of classic Westerns, North also evokes the rugged landscape of the West, especially the area around the gang’s hideout with its salt flats, prairie dog burrows, and notched “wall of bright red rock many stories high” that gives The Hole in the Wall Gang its name. It’s there that the final showdown between the gang and the posse of lawmen who are pursuing them will take place.\u003c/p>\n\u003cp>Most of all, though, it’s the affecting character of Ada who’s the steady draw here. Once Fate tosses her out of her complacent life, Ada, in the time-honored tradition of the Western, becomes a hunter. Like Mattie Ross in\u003cem> True Grit\u003c/em> or, dare I say Ethan Edwards, in the vexed John Ford film, \u003cem>The Searchers\u003c/em>, Ada is on the trail, not of someone, but of something. She wants medical knowledge of women’s bodies.\u003c/p>\n\u003cp>Ada joins the gang for protection, but also to get loot from the hold-ups to be able to travel and study with a master midwife she’s heard about, a woman who practices farther west. Ada aims to save other infertile women from being ostracized or murdered. There’s a moment, after she settles in with the gang, when Ada almost decides to stay put. She tells us:\u003c/p>\n\u003cblockquote>\u003cp>I saw how the valley, now blooming into beauty after the long winter, could feel like home. What I had planned instead was so amorphous and uncertain. …\u003c/p>\n\u003cp>But if I stayed in the valley, I would learn no more about myself or people like me than I had known when I left … I would die without knowing what made me the way I was.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The heroes of the traditional Western were always sure about what made them the way they were; what made a man a man. For Ada and the other “outlaws” of this spirited novel, the frontiers of gender and sexuality beckon to be explored.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Outlawed%27+Frontiers+Of+Gender+And+Sexuality+Beckon+In+This+Sly+Western&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How many steps do you walk each day?\u003c/p>\n\u003cp>If you live in the U.S. and can claim more than 4,774 steps daily, you’re exceeding the average American’s total. Comparable figures from England and Japan are 5,444 and 6,010 daily steps, respectively—with this info derived from cellphone data.\u003c/p>\n\u003cp>The distance that individuals walk daily varies, with a host of factors affecting the total, including where you live, what work you do and whether you are able to walk at all. In a riveting book published Tuesday, \u003cem>Exercised: Why Something We Never Evolved to Do is Healthy and Rewarding\u003c/em>, Harvard University evolutionary biologist Daniel E. Lieberman cites the step data to make a point. Many of us today are fairly inactive (under 5,000 steps is defined as “sedentary”), so much so that our activity levels are mismatched with the way we evolved.\u003c/p>\n\u003cp>Exercise can be understood as “discretionary, planned physical activity for the sake of physical improvement.” In other words, when we work out, we set aside time to exercise and do it because we have goals related to better bodies and better health. [aside postid='arts_13817884']\u003c/p>\n\u003cp>Our ancestors never did any such thing. Certainly, they moved a lot in the course of their daily lives. We know this because the hunter-gatherer lifestyle—making a living off the land, without farming—demands it, and also because data from contemporary hunter-gatherers like the Hadza Indigenous people of Tanzania give us some clues to past activity patterns. Hadza individuals are about 12 times more active than the average American or European. Elderly people remain highly active, as they must have in the past. “Almost no one in the Stone Age,” Lieberman notes, “least of all grandparents, managed to avoid hours of walking, running, digging, climbing, and other manual labors.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet, here’s the central point: There was no exercise in the Stone Age! People had high activity levels simply because that’s how it was possible to survive by hunting and gathering.\u003c/p>\n\u003cp>With that distinction in place, Lieberman begins a process of myth-busting about exercise. Some exercise enthusiasts, he writes, insist that “we were \u003cem>born \u003c/em>to exercise because for millions of years our hunter-gatherer ancestors survived through walking, running, climbing, and other physical activities.” On the contrary—and here comes a surprising but scientifically sensible statement—we evolved to limit our physical activity whenever we reasonably could. With all the survival tasks requiring our energy, the last thing needed ancestrally was to set aside time to work out.\u003c/p>\n\u003cfigure id=\"attachment_13890847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg\" alt=\"The cover of 'Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,' by Daniel E. Lieberman.\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1339x2048.jpg 1339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c.jpg 1643w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,’ by Daniel E. Lieberman. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An irresistible aspect of \u003cem>Exercised \u003c/em>is Lieberman’s firm stance that no shame or stigma be attached to those who find it challenging to sustain an exercise program: “So if, as you read these words, you are seated in a chair or lounging in bed and feeling guilty about your indolence, take solace in knowing that your current state of physical inactivity is an ancient, fundamental strategy to allocate scarce energy sensibly.”\u003c/p>\n\u003cp>Indolence is not \u003cem>good \u003c/em>for us, of course. Sitting for long hours, for instance, encourages inflammation throughout the body and is associated with chronic disease. This is especially true of the way we tend to sit in our culture—on a chair—compared to cultural traditions of squatting, kneeling or sitting on the ground, which causes the muscles to be more highly active. Yet if you’re attached to your chair or couch, all is not lost: In one study, in which participants interrupted their sitting with just 100 seconds of movement every half-hour, the result was lower blood levels of sugar, fat and bad cholesterol.\u003c/p>\n\u003cp>Another exceptionally informative part of the book discusses the damage-and-repair cycle brought on by exercise. Lieberman explains more clearly than I’ve ever read what exercise does to the body and how the body then begins to repair itself afterwards. Briefly put, exercise unleashes a flood of waste products and unstable oxygen molecules that compromise cells’ function. Following a workout, the body slowly begins to repair the damage, through a suite of anti-inflammatory and cleanup responses. Often, this repair process works so well that it leads to a state of better health in the body overall.\u003c/p>\n\u003cp>This beneficial process evolved in an evolutionary context of physical activity, as carried out by our ancestors. Thus, repair today \u003cem>does not happen efficiently if you are sedentary\u003c/em>: “We never evolved to activate these maintenance and repair responses as effectively in the absence of regular physical activity.” Additionally, an increase in BDNF (brain-derived neurotrophic factor) that helps protect our brains against Alzheimer’s disease increases with physical effort, for the same evolutionary reason. Insights like these alone make reading the book worthwhile.\u003c/p>\n\u003cp>To integrate exercise into our lives in sustained fun ways is a goal we should all have, Lieberman says, though he appropriately explains that certain disabilities may make this difficult or impossible. We can bring this about by exercising socially, for example; our species is gregarious by nature and many people enjoy collective activity, plus, if we commit to an exercise meetup, we’re less likely to succumb to that urge not to exercise. (The book was mostly written before the COVID-19 pandemic forced temporary suspension of shared exercise activities in the name of good public health.) [aside postid='pop_113275']\u003c/p>\n\u003cp>The oft-cited recommendation to exercise 150 minutes a week Lieberman doesn’t discount, but he emphasizes there’s no optimal routine of exercise type or quantity because we all have different bodies and circumstances. A good across-the-board summary is this: “Make exercise necessary and fun. Do mostly cardio, but also some weights. Some is better than none. Keep it up as you age.”\u003c/p>\n\u003cp>\u003cem>Exercised\u003c/em> is written in a warm, sometimes dryly amusing tone that’s highly appealing. Colorful personal stories enliven the book. Follow along as Lieberman accompanies two Hadza men on a hunt, rides a dog sled across icy terrain Greenland and tries to outrun a horse in a race in Arizona.\u003c/p>\n\u003cp>Lieberman makes a superb guide for anyone wishing to understand why it can be hard to commit to exercising and why we should do it anyway.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Barbara J. King is a biological anthropologist emerita at William & Mary. Her seventh book, \u003c/em>Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity and in the Wild\u003cem>, will be published in March. Find her on Twitter \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@bjkingape\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Exercised%27+Explains+Why+It+Can+Be+Hard+To+Commit+To+Working+Out+%E2%80%94+And+Why+We+Should&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How many steps do you walk each day?\u003c/p>\n\u003cp>If you live in the U.S. and can claim more than 4,774 steps daily, you’re exceeding the average American’s total. Comparable figures from England and Japan are 5,444 and 6,010 daily steps, respectively—with this info derived from cellphone data.\u003c/p>\n\u003cp>The distance that individuals walk daily varies, with a host of factors affecting the total, including where you live, what work you do and whether you are able to walk at all. In a riveting book published Tuesday, \u003cem>Exercised: Why Something We Never Evolved to Do is Healthy and Rewarding\u003c/em>, Harvard University evolutionary biologist Daniel E. Lieberman cites the step data to make a point. Many of us today are fairly inactive (under 5,000 steps is defined as “sedentary”), so much so that our activity levels are mismatched with the way we evolved.\u003c/p>\n\u003cp>Exercise can be understood as “discretionary, planned physical activity for the sake of physical improvement.” In other words, when we work out, we set aside time to exercise and do it because we have goals related to better bodies and better health. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our ancestors never did any such thing. Certainly, they moved a lot in the course of their daily lives. We know this because the hunter-gatherer lifestyle—making a living off the land, without farming—demands it, and also because data from contemporary hunter-gatherers like the Hadza Indigenous people of Tanzania give us some clues to past activity patterns. Hadza individuals are about 12 times more active than the average American or European. Elderly people remain highly active, as they must have in the past. “Almost no one in the Stone Age,” Lieberman notes, “least of all grandparents, managed to avoid hours of walking, running, digging, climbing, and other manual labors.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet, here’s the central point: There was no exercise in the Stone Age! People had high activity levels simply because that’s how it was possible to survive by hunting and gathering.\u003c/p>\n\u003cp>With that distinction in place, Lieberman begins a process of myth-busting about exercise. Some exercise enthusiasts, he writes, insist that “we were \u003cem>born \u003c/em>to exercise because for millions of years our hunter-gatherer ancestors survived through walking, running, climbing, and other physical activities.” On the contrary—and here comes a surprising but scientifically sensible statement—we evolved to limit our physical activity whenever we reasonably could. With all the survival tasks requiring our energy, the last thing needed ancestrally was to set aside time to work out.\u003c/p>\n\u003cfigure id=\"attachment_13890847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg\" alt=\"The cover of 'Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,' by Daniel E. Lieberman.\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1339x2048.jpg 1339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c.jpg 1643w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,’ by Daniel E. Lieberman. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An irresistible aspect of \u003cem>Exercised \u003c/em>is Lieberman’s firm stance that no shame or stigma be attached to those who find it challenging to sustain an exercise program: “So if, as you read these words, you are seated in a chair or lounging in bed and feeling guilty about your indolence, take solace in knowing that your current state of physical inactivity is an ancient, fundamental strategy to allocate scarce energy sensibly.”\u003c/p>\n\u003cp>Indolence is not \u003cem>good \u003c/em>for us, of course. Sitting for long hours, for instance, encourages inflammation throughout the body and is associated with chronic disease. This is especially true of the way we tend to sit in our culture—on a chair—compared to cultural traditions of squatting, kneeling or sitting on the ground, which causes the muscles to be more highly active. Yet if you’re attached to your chair or couch, all is not lost: In one study, in which participants interrupted their sitting with just 100 seconds of movement every half-hour, the result was lower blood levels of sugar, fat and bad cholesterol.\u003c/p>\n\u003cp>Another exceptionally informative part of the book discusses the damage-and-repair cycle brought on by exercise. Lieberman explains more clearly than I’ve ever read what exercise does to the body and how the body then begins to repair itself afterwards. Briefly put, exercise unleashes a flood of waste products and unstable oxygen molecules that compromise cells’ function. Following a workout, the body slowly begins to repair the damage, through a suite of anti-inflammatory and cleanup responses. Often, this repair process works so well that it leads to a state of better health in the body overall.\u003c/p>\n\u003cp>This beneficial process evolved in an evolutionary context of physical activity, as carried out by our ancestors. Thus, repair today \u003cem>does not happen efficiently if you are sedentary\u003c/em>: “We never evolved to activate these maintenance and repair responses as effectively in the absence of regular physical activity.” Additionally, an increase in BDNF (brain-derived neurotrophic factor) that helps protect our brains against Alzheimer’s disease increases with physical effort, for the same evolutionary reason. Insights like these alone make reading the book worthwhile.\u003c/p>\n\u003cp>To integrate exercise into our lives in sustained fun ways is a goal we should all have, Lieberman says, though he appropriately explains that certain disabilities may make this difficult or impossible. We can bring this about by exercising socially, for example; our species is gregarious by nature and many people enjoy collective activity, plus, if we commit to an exercise meetup, we’re less likely to succumb to that urge not to exercise. (The book was mostly written before the COVID-19 pandemic forced temporary suspension of shared exercise activities in the name of good public health.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The oft-cited recommendation to exercise 150 minutes a week Lieberman doesn’t discount, but he emphasizes there’s no optimal routine of exercise type or quantity because we all have different bodies and circumstances. A good across-the-board summary is this: “Make exercise necessary and fun. Do mostly cardio, but also some weights. Some is better than none. Keep it up as you age.”\u003c/p>\n\u003cp>\u003cem>Exercised\u003c/em> is written in a warm, sometimes dryly amusing tone that’s highly appealing. Colorful personal stories enliven the book. Follow along as Lieberman accompanies two Hadza men on a hunt, rides a dog sled across icy terrain Greenland and tries to outrun a horse in a race in Arizona.\u003c/p>\n\u003cp>Lieberman makes a superb guide for anyone wishing to understand why it can be hard to commit to exercising and why we should do it anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbara J. King is a biological anthropologist emerita at William & Mary. Her seventh book, \u003c/em>Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity and in the Wild\u003cem>, will be published in March. Find her on Twitter \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@bjkingape\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Exercised%27+Explains+Why+It+Can+Be+Hard+To+Commit+To+Working+Out+%E2%80%94+And+Why+We+Should&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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