Richard S. Dunn spent 40 years researching and writing “A Tale of Two Plantations,” a scrupulous, revelatory archival investigation of some 2,000 people enslaved across three generations: roughly half on a Jamaican sugar plantation called Mesopotamia, and half on Mount Airy, a Virginia tidewater plantation growing tobacco and grain.
As is our tradition, we interview each of our winners prior to the hustle of the evening to get their quiet thoughts on what being recognized means to them. Here is Dunn’s turn in front of the camera:
As Marilyn Chinbegan her acceptance speech for this year’s award for poetry, she looked out in the audience upon former poet laureate and jury member Rita Dove, thanking her for her sisterhood. Dove praised “Hard Love Province,” noting, “In these sad and beautiful poems, a withering portrayal of our global ‘society’ emerges – from Buddha to Allah, Mongols to Bethesda boys, Humvee to war horse, Dachau to West Darfu, Irrawaddy River to San Diego.”
As is our tradition, we interview each of our winners prior to the hustle of the evening to get their quiet thoughts on what being recognized means to them. Here is Chin’s turn in front of the camera:
It was a brief passage in “Sula,” Toni Morrison‘s 1973 novel, that changed Marlon James‘ entire life: in it, Sula refutes the idea that her life choices only have value if affirmed by others. James realized: “I don’t owe anything to anyone. I didn’t have anything to prove. I could be the writer; I could be the artist. I could be the person that I want.”
James’ indebtedness to Morrison extends further into the Anisfield-Wolf canon—Edwidge Danticat, Arnold Rampersad, Wole Soyinka are among the winners he referenced as he accepted his prize for 2014’s “A Brief History of Seven Killings” at the sold-out awards ceremony at Playhouse Square.
As is our tradition, we interview each of our winners prior to the hustle of the evening to get their quiet thoughts on what being recognized means to them. Here is James’ turn in front of the camera:
“My idols sat around and read my book, y’all,” Jericho Brown remarked from the podium at the 2015 Anisfield-Wolf Book Awards ceremony. Moments later he launched into “Labor,” a piece featured in his 2014 collection, The New Testament.
As is our tradition, we caught up with Brown in a few quiet moments before this year’s ceremony to hear his thoughts on being honored with the 2015 Anisfield-Wolf Book Award for poetry:
Clevelanders feeling uninspired on their daily commute will soon have one route infused with a new literary landscape.
An extraordinary collaboration between the Cleveland Foundation, the City of Cleveland and LAND studio will bring public artwork to the Regional Transit Authority’s Red Line—the 19-mile stretch from Cleveland Hopkins International Airport to downtown Cleveland—in time for the Republican National Convention in 2016. These art installations will honor Anisfield-Wolf Book Award winners, potentially including local literary giants Toni Morrison and Langston Hughes and national leaders such as Martin Luther King Jr. and Malcolm X. The awards, which began in Cleveland 80 years ago, honor authors whose works confront racism and celebrate diversity.
The current view from the Red Line is a passageway through neglected and underused industrial spaces, the surfaces of which provide a compelling canvas for large-scale murals or other art treatments. (Who wouldn’t want a glimpse of artwork inspired by The Bluest Eye on their way to work?) “This is a one of the best developments in the history of the Anisfield-Wolf Book Awards,” said Karen R. Long, manager of the prizes. “It will put our books and authors along the arteries of the city, and into the daily lives of our citizens. We will collaborate with world-class artists to bring these important stories and poems and nonfiction narratives to the fore. I am keen to begin, and honored to help.”
The project will begin with five or more art pieces created by local, national and international artists. The hope is to expand it to the RTA’s other transit lines, potentially creating one of the nation’s largest outdoor art galleries. The fusion of public art and public transportation has enlivened other U.S. cities, including Philadelphia and New York City, where its transit system launched an app to help riders locate and explore more than 200 works of art within the stations.
“This project showcases the power of the arts to transform community spaces,” said Lillian Kuri, the Cleveland Foundation’s program director for architecture, urban design and sustainable development. “We believe it has the potential to turn the Red Line into a cultural attraction, especially by connecting the art to the Anisfield-Wolf Book Awards, an internationally-respected program born right here in Cleveland.” Interested artists are asked to submit portfolios to LAND Studio’s Joe Lanzilotta at jlanzilotta@land-studio.org before the 1/22/2016 deadline. Find more information and the Request for Qualifications at LAND Studio’s site.
Sarah Marcus, an English teacher at Saint Martin de Porres high school and local poet, spends her days engaging her students in “resistance writing,” using their personal experience to explore themes of race, class, gender and social justice. Such an outlet is useful for these students in the Superior/St. Clair neighborhood. These writing sessions led to “The Stories That Chose Us,” a compilation of the students’ essays, published by local nonprofit press Guide to Kulchur. The students also continue to publish online at As It Ought To Be and The Good Men Project.
Recently, WKYC Channel 3 in Cleveland sent a reporter and camera crew to Saint Martin de Porres to introduce the city to its newest crop of local authors. Readers interested in a copy of “The Stories That Chose Us” can write email Ms. Marcus at sarahannmarcus@gmail.com.
About a year ago, I noticed a number of black women I follow online all wearing the same “Black Girls are Magic” t-shirt in their social media profiles. Launched by @ThePBG on Twitter, the t-shirt line was created in “celebration of the beauty, intelligence and power of Black women everywhere.”
It’s not hard to imagine those magical black women nestled somewhere reading journalist Tamara Winfrey Harris‘ first book, ‘The Sisters Are Alright: Changing the Broken Narrative of Black Women in America.” Her thesis is that black women are “neither innately damaged nor fundamentally flawed,” but instead are aching to be recognized for their full humanity.
So what is Winfrey Harris pushing back against? In a brisk 123 pages, the Indiana native investigates the “three-headed hydra” of black women stereotypes—the sassy Sapphire, the subservient Mammy and the hypersexual Jezebel— interspersing her own narrative with interviews from other black women. “Black women are not waiting to be fixed,” she writes. “They are fighting to be free — free to define themselves absent narratives driven by race and gender biases.” (Sound familiar?)
Winfrey Harris breaks these broad stereotypes into smaller, more nuanced discussions. She examines the sudden re-emergence of the natural hair movement and the back-breaking albatross that is the “strong black woman” syndrome. As one exasperated subject tells the author, “When are they going to realize I’m a complete phony? I just want to go back to bed. I don’t want to do this, because what if I’m not strong? What if I want to cry? What if I want to admit that things hurt? Who do I admit that to?”
I was most drawn to the chapter on parenting and the ways in which black women are chastised for their reproductive choices, from slavery to the present, despite the acknowledgement of the hurdles black women uniquely face. One anecdote was particularly haunting: a mother teaching her son to scream out his first and middle name if ever he was confronted by someone looking to harm him, a lesson she thought wise to impart after the confusion over who was screaming in the Trayvon Martin/George Zimmerman confrontation. This is “parenting while black” in the age of #BlackLivesMatter.
Harris’ work is not merely reactive. While she does push back on the negative stereotypes, her book is as much affirmation as it is repudiation. Nestled within each chapter are a few “Moments in Alright” vignettes, highlighting black women who created their own spaces and their own success stories.
There is something innately familiar about this work, starting with the old-school cover illustration of four happy black girls. As a black woman reading a text written by a black woman about being a black woman in America, it was the most invigorated I’ve felt in a long time.
And the timing couldn’t be better. When Ta-Nehisi Coates was asked about the lack of black women in his blockbuster Between the World and Me, published a week after Winfrey Harris’ book, he responded that the best answer was to “have more books” that can speak to all facets of the black community. Here’s hoping that some of those who rushed to buy Coates’ work find out The Sisters Are Alright too.
When a Missouri grand jury decided not to indict police officer Darren Wilson for killing 18-year-old Michael Brown, journalist Ta-Nehisi Coates watched his 15-year-old son Samori slowly stand up and walk into his own Baltimore bedroom to cry.
As Coates recounts this story in Between the World and Me, he writes that he followed his son, but did not hug or console him: “I did not tell you it would be okay, because I have never believed it would be okay. What I told you is what your grandparents tried to tell me: that this is your country, that this is your world, that this is your body, and you must find some way to live within all of it.”
Originally conceived as a collection of essays on the Civil War, Between the World and Me arrived four months ahead of its scheduled publication with a more urgent focus. Coates writes about the physical and psychological toll of being black in America, in the form of six letters/chapters to his son. Publisher Speigel and Grau bumped the release date up in response to the massacre of nine churchgoers in Charleston, as Between the World and Me “spoke to this moment.”
But the rush to get the book on shelves didn’t preclude Toni Morrison: “I’ve been wondering who might fill the intellectual void that plagued me after James Baldwin died,” Morrison had written. “Clearly it is Ta-Nehisi Coates.”
If Coates record-breaking 2014 reporting in “The Case for Reparations,” an Atlantic article, can be considered an intellectual appetizer, Between the World and Me serves as the entree.
Inspired by James Baldwin’s The Fire Next Time, Coates has delivered a work that is as authoritative as it is inquisitive. Why can’t we, as a nation, come to terms with what we have wrought? Why do we constantly discuss “race” when we need to be eradicating racism? And perhaps most importantly, will we get it right anytime soon?
The Baltimore native connects his son’s disappointment in the Wilson non-indictment and the incident that hastened his own disillusionment with the American criminal justice system. In 2000, a Prince George’s County officer shot and killed Prince Jones, a Howard University student and friend of the author. This scorched Coates’ soul and psyche and he spends a sixth of his book writing about Jones.
He frames Jones’ slaying as an exemplar of what can befall the black body even in the best case scenario: a young man with a bright future, educated at some of the nation’s best schools, nurtured from birth toward greatness, bleeding to death outside his fiancee’s house in a case of mistaken identity. “Prince Jones was the superlative of all my fears,” Coates writes. “And if he, good Christian, scion of a striving class, patron saint of the twice as good could be forever bound, who then could not?”
Jones’ death is part of the reason Coates avoids shackling his son with “twice as good” generational mantra of black folks everywhere: “It struck me that perhaps the defining feature of being drafted into the black race was the inescapable robbery of time, because the moments we spent readying the mask or readying ourselves to accept half as much, could not be recovered….It is the raft of second chances for them and twenty-three-hour days for us.”
Not all in this book is grim. The most encouraging chapter centers on Coates’ undergraduate years at “The Mecca,” Howard University. Here he takes us on a virtual campus tour, leading up to the transformation many young adults undergo when they are learning on their own terms for the first time. He devours books three at a time and marvels that he’s walking in the footsteps of alumnae Lucille Clifton and Toni Morrison. Coates meets the woman he will marry, Kenyatta Matthews, a Chicagoan with a bit of wanderlust. (She inspired his first trip to Paris, where later this year, the couple and their son plan to relocate for a year.)
Read through my own lens as a black parent of black children, Between the World and Me is sobering. It offers no sense that the job will be made easier by magical conversations on how to navigate life safely in America. Coates’ parenting is blunt: “I have always believed that my job was not to hide the world from you but to guide you through it and this meant taking you into rooms where people would insult your intelligence, where thieves would try to enlist you in your own robbery and disguise their burning and looting as a celebration or a wake.”
One nitpick: In certain passages, Coates meanders around a subject as if figuratively speaking, he forgets his son is in the room. The message is still there, but the receiver is not so clear. Other reviewers have called into question whether Between the World and Me is too male-centric. Buzzfeed editor Shani O. Hilton writes that she was disappointed that the “black male experience is still used as a stand in for the black experience.”
Nevertheless, this book is a masterpiece, and here is a postscript: I would still like to read that Civil War book. What does one of the most fertile and curious minds of our era have to say about our nation’s deadliest war? He gives us a tease here, but let’s hope a full-bodied work is still on the way.
Between the World and Me goes on sale Tuesday, July 14.
“I’ll tell you what freedom is to me—no fear,” Nina Simone wistfully told an interviewer in 1968. “If I could have that half of my life…”
This search for freedom haunts each beat of “What Happened, Miss Simone,” the new Netflix-commissioned documentary on the award-winning singer, pianist and activist. The film, book-ended by Simone singing her classic “I Wish I Knew How It Would Feel To Be Free,” traces her journey from a piano prodigy in small town North Carolina to an international force of blues and soul.
“What Happened, Miss Simone” reaches viewers months before the highly controversial “Nina” biopic—in which Afro-Latina actress Zoe Saldana dons facial prosthetics to more closely resemble Simone. Simone’s only child, Broadway actress Lisa Simone Kelly, prefers the documentary: “[This film] reboots everything to what it’s supposed to be in terms of mom’s journey and mom’s life the way she deserves and the way she wants to be remembered in her own voice on her own terms.”
Born Eunice Waymon in 1933, the young girl’s early aptitude for music inspired a rare communal pride in her segregated town: both black and white residents contributed to a fund to send her to the Juilliard School in New York. When she applied to the Curtis Institute of Music in Philadelphia, the admissions office turned her down. “It took me six months to realize it was because I was black,” Simone said. (The institute would later award her an honorary degree two days before her death in 2003.)
Fresh out of money, the 19-year-old took the first job she could find—playing piano in an Atlantic City bar: “The owner came in the second night and told me if I wanted to keep the job, I had to sing. Ninety dollars was more money than I ever heard of in my life, so I sang.” She changed her name to Nina Simone to avoid having her preacher mother discover she was playing secular music for a living. Yet it was the classical training that made her stand out. Soon she found herself performing at jazz festivals, drawing attention with her booming vocals.
“What I was interested in was conveying an emotional message, which means using everything you’ve got inside you, sometimes to barely make a note, or if you have to strain to sing, you sing,” she explained. “So sometimes I sound like gravel and sometimes I sound like coffee and cream.”
Her then-husband Andrew Stroud quit his job as a New York City police sergeant to oversee her career. Mutual friends described him as a man who could spook you with one word; their love affair quickly turned violent.
“Andrew protected me against everybody but himself,” she spat in one interview. “He wrapped himself around me like a snake.”
While Simone aspired to commercial success, the relentless pressure of being the breadwinner for an entire entourage— at one point she counted 19 people on her payroll—exhausted her: “Inside I’m screaming, ‘Someone help me’ but the sound isn’t audible – like screaming without a voice,” she wrote in her journal. “Nobody’s going to understand or care that I’m too tired. I’m very aware of that,” she later said.
Stroud recounted a story of Simone having a mental breakdown before a performance. “She had a can of shoe polish. She was putting it in her hair. She began talking gibberish and she was totally out of it, incoherent.” No one took her to get help; instead, Stroud took her arm and escorted her to the piano on stage. The show must go on.
Kelly, who also produced the film, uses her screen time to “explain” her mother, to smooth some of the controversial aspects of the entertainer’s life. For the most part, she is successful: “She was happiest doing music. I think that was her salvation. It was the one thing she didn’t have to think about.”
As her marriage imploded, Simone entered the burgeoning civil rights movement, flourishing in the company of contemporaries like James Baldwin, Lorraine Hansberry and Langston Hughes. “I could let myself be heard about what I’d been feeling all the time.” The 1963 bombing of the 16th Street Baptist Church that killed four little girls enraged her. She wrote “Mississippi Goddam,” which soon became her best-known song and an anthem of the movement.
As Simone’s priorities shifted to what she called “civil rights music,” promoters shifted away and her career stalled. After stints in Barbados and Liberia, she settled in Europe to mount a comeback. Friends took in her disheveled appearance and odd behavior and took her to the doctor, where she was diagnosed with bipolar disorder, a disease many suspected she struggled with most of her life.
It’s never quite clear how close Simone would have considered some of the individuals tapped to interview; director Liz Gruber’s decision to gloss over their connection weakens the film. But the inclusion of Simone’s journal entries—she talks about contemplating suicide, of taking pills simply to function—gives an unvarnished insight into a woman of genius whose complexity makes her difficult to sum up, or pin down.
In a poignant op-ed for The New York Times, Harvard University professor Henry Louis Gates Jr. recalls his time spent with Rev. Clementa Pinckney, the South Carolina state senator and leader of Emanuel African Methodist Episcopal Church who was among the nine people gunned down in his historic church. Gates, who chairs the Anisfield-Wolf Book Awards jury, interviewed Pinckney three years ago for his PBS series’ “The African-Americans: Many Rivers to Cross,” on the legacy of black leaders in the post-Civil War South.
A small snippet:
To know him, even over the course of an autumn Carolina afternoon, was to know a man who cherished the values on which our republic was founded, and who held an abiding faith that the great promise of America could, one day, be fulfilled. He was a unifier who, this past spring, taught us how to mourn in communion with one another, following the police slaying of Walter L. Scott, a black man, just north of his city. I don’t believe that he had the capacity to imagine the depth of malice and anger that came down on his congregation, Emanuel African Methodist Episcopal Church, on Wednesday night.
Read the rest of his op-ed here. Below, watch Pinckney discuss the importance of black political participation in an interview with Gates:
Writer Ruth Behar and poet Richard Blanco have launched Bridges to/from Cuba, an ambitious collaborative fueled by 20 years of friendship. The duo has started an online forum for poets, authors and scholars to “lay bare the laughter and sorrow of being Cuban.”
As geopolitics shift, these two Cuban Americans call out for literature, writing, “For it is not simply a political and economic embargo that needs to be ‘lifted,‘ but also the weight of an emotional embargo that has kept Cubans collectively holding their breath for over fifty years.”
The two are uniquely positioned to lead. Blanco, inaugural poet for President Barack Obama’s second inauguration, has brought out two memoirs on his life as a young, gay, Latino immigrant. Born to Cuban-exiled parents and raised in Miami, Blanco’s poetry threads through themes of cultural identity and belonging. New Yorker Ruth Dehar, born in Cuba, teaches anthropology at the University of Michigan. In the early 1990s, Behar was editor of Bridges to Cuba, a groundbreaking anthology featuring voices in the Cuban Diaspora, including many second generation writers.
The pair crafts a beautifully symbolic first post, a fusion of two poems: “The Island Within,” for Ruth Behar (by Richard Blanco) and “The Island We Share,” for Richard Blanco (by Ruth Behar). Read along here.
Reading, writing and discussing poetry has the power to open windows in life-changing ways, giving readers the freedom to tell their own stories and view themselves as capable learners and contributors. Our current partnership with the East Cleveland Municipal Court and From Lemons to Lemonade (FL2L) bring Books@Work to a group of single mothers and other women whose lives rarely afford them the opportunity to read, let alone reflect.
The majority of the women in the group have suffered extraordinary personal hardships; they often struggle to provide for their children. But these women’s stories don’t have to end there; with the right support, single mothers and other women finding themselves in difficult circumstances can build community and face life’s challenges together. This is the governing philosophy behind FL2L, and avowed cycle-breaker Judge William Dawson’s approach to sentencing at the East Cleveland Municipal Court.
Part poem, part play, part choreographed dance, For Colored Girls is a deep and powerful examination of the experience of being a woman of color. The book weaves the stories of seven different women — named for the colors they wear — across 20 different poems. The text examines such topics as rape, abuse, abortion, sexually transmitted disease, and other themes and experiences that are typically taboo.
For Colored Girls resonated deeply with participants, as they were able to see their own stories in the characters in Shange’s work, allowing the text to suggest a path forward, with a degree of healing.
One woman reports, “We read something in the book about one of the women who was just giving herself to men and just she felt dirty inside. She was just giving herself away just because she wanted to feel loved. It was my ‘aha’ moment, like okay, well maybe that is the reason why I stuck with a person that I didn’t have to stick with.”
Another participant comments, “There’s a story where the girl is basically speaking about how she’s learning herself, don’t really need a man to define her and that stuck with me. I’m like, ‘Yeah I don’t need a man to define me.’”
Professor Rankins’ poetry writing prompts, and the experience of reading the work aloud with one another, also empowered the women in the group to tell their own stories, and to see themselves as part of a longer and larger narrative tradition. The practice of writing has had a profound influence on many who continue to write on their own, beyond the sessions at the Court.
One woman explains that the experience of reading, discussing and writing, “helped me to now I’m to the point where I can actually speak to someone without me being just so snappy. It really has. Made me write it.” Now, “Instead of [getting angry], I just write and I let it go.”
Another woman says that “the poems we actually wrote, it made me feel better about myself when I left here. I’m reading it in the car and [thinking], ‘You know what? I am strong.’… Sometimes you need that, to just tell yourself.”
The Books@Work program at the East Cleveland Municipal Court reminds us that guided discussion around serious literature can be much more than an intellectual exercise.
As Frechic Dickson, the founder and President of FL2L explains, “We are serving a group of people who have been through such emotional and traumatic experiences – it’s hard for them to say, ‘My name is so-and-so and this is what happened to me.’ If you give them an opportunity through poetry [to say,] ‘I feel this,’ or ‘I remember this,’ they identify those lines with events in their lives. It makes it artistic rather than transparent.”
The women who attend the FL2L life skills program at the East Cleveland Municipal Court aren’t typical Books@Work participants. They are united not by a common employer, but instead by their involvement in the criminal justice system. As the name suggests, FL2L seeks to turn the negative — sometimes violent — acts committed by the participants into an opportunity for real and substantive personal and community change. Books, and the critical discussion that emerges from reading and reflecting on those texts with peers and a professor, change the way that participants at the East Cleveland Municipal Court view themselves, their communities, and their potential for future success.
Ann Kowal Smith is Executive Director of That Can Be Me, Inc., facilitator of Books@Work. Rachel Burstein is the Academic Director of That Can Be Me, Inc., facilitator of Books@Work.
A crowd thick with alumni packed the City Club of Cleveland to hear from leaders at their beloved alma maters: What, exactly, will be the future of Historically Black Colleges and Universities (HBCUs)? Panelists Robert Michael Franklin, Jr., president emeritus of Morehouse College; Cynthia Jackson-Hammond, president of Central State University; and Claude G. Perkins, president of Virginia Union University, gave their best prognoses.
The 107 HBCUs in the United States have a storied history, small but mighty. Representing only 3 percent of U.S. colleges and universities, they educate 11 percent of all African-American students. Black colleges produce half of all black public school teachers, half of all future lawyers, and eighty percent of black judges. In an 2013 address, Secretary of Education Arne Duncan praised HBCUs for “almost single-handedly creating an African-American professional class in the face of decades of Jim Crow discrimination.”
Highlights from the panel discussion: 1) The value proposition of HBCUs must be more readily acknowledged
During his tenure as president of Morehouse, Franklin established the “Five Wells” of a Morehouse Man—being well-read, well-spoken, well-dressed, well-traveled, and well-balanced. HBCUs build leaders, he said, yet most guidance counselors view them as little more than “safe” schools: “Are all of our top performing students being exposed to a diverse menu of educational options?”
Predominately white institutions (PWIs) are too often touted as the best fit for all students, Perkins said, but his interactions with students at Virginia Union convince him otherwise. “I have seen students who could easily become physicians and went to some of the other schools and end up majoring in social work. Students get recruited to the larger schools and those students don’t do as well because it is not a culturally affirming environment for them. Here, you’re a person first.” 2) The wealthy (individuals and government) need to provide more financial support
Increasing alumni giving has long been a focal point: donations to HBCUs have languished under 10 percent of all graduates. Some schools, like Texas’ Prairie View A&M University, have begun campaigns for current students, to instill the “giving back” mentality before students graduate. Pressure to increase alumni giving comes as both state and federal funding decreases, leaving many HBCUs scrambling to fill the gap.
“We can’t let the African-American affluent class off the hook,” Franklin said, lamenting the $70 million gift hip-hop pioneer Dr. Dre gave the University of Southern California in 2013. Dillard University president Walter Kimbrough wrote in an Los Angeles Times op-ed: “This gift is gravy for USC; for a black college, it would transform not just individuals but whole institutions and communities.”
“Our alumni, our churches, our friends — they understand our story,” Perkins said, “but at the same time, the Obama Administration has made it very difficult for our historically black colleges and colleges that are serving moderate-to-low income students.”
“Of course if Mr. Obama had graduated from an HBCU, he would have understood that,” Jackson-Hammond added.
“I used to work at a PWI,” Jackson-Hammond said, “and one observation is that at a PWI you usually have ten people doing one job. At an HBCU, you have one person doing ten jobs.”
The Central State president encouraged the Central State alumni in the room to do their part, to use their voice to reach potential students. “We can not wait for these students to just drop down from heaven,” Jackson-Hammond insisted. “There has to be an open dialogue about how HBCUs and K-12 institutions can work to develop a pipeline for a seamless transition. And that conversation has to start as early as preschool.” 4) Globalization and diversity must be a renewed focus
Hispanic and Latino enrollment at HBCUs has jumped 123 percent in the past 30 years, with Asian student enrollment increasing 60 percent. This has been no accident. With PWIs like Stanford offering tuition waivers for families making under $125,000, there has been more competition for black students, with black colleges’ share getting increasing smaller.
Franklin recalled a recent trip to South Korea, where he bumped into Kevin Rome, president of Lincoln University, a small HBCU in Missouri. He was en route to a meeting with Korean education officials: “Other students outside the African-American community see value in our schools and they want to be a part of it.”
Perkins urged the audience to consider HBCUs through a mission-focused lens. “We are institutions that are willing to do the heavy lifting,” he said. “We are institutions that help our young people understand they have serious responsibilities to make this nation a better place … Any business, if they looked hard enough, would say, this is where we need to invest our money.”
A 200-page book on the untimely death of a spouse hardly seems like it would make for light summer reading. But as I’ve devoured Elizabeth Alexander‘s new memoir, The Light of The World, I’ve discovered that there’s beauty in loss, there’s sparkle in remembrance.
The poet lost her husband, painter and chef Ficre Ghebreyesus (pronounced Fee-kray Geb-reh-yess-oos) in April 2012, days after his 50th birthday. Their 15-year union produced two sons, Solomon and Simon, and a cozy life in Connecticut, where Alexander is a professor at Yale University. She composed “Praise Song for the Day” for President Obama’s 2009 inauguration; a year later she won the 2010 Anisfield-Wolf lifetime achievement prize.
Light does not begin with her husband’s passing, with Alexander preferring we get to know the man before we get to know the ghost. We get to peek into their daily courtship, the mundane aspects of a relationship—leaving for work, waiting up for a partner to get home—taking on a heightened importance. She paints a portrait of a man filled with pride for his Eritrean heritage and an extended family that spanned the globe. Still fresh from her loss, she decided to write this memoir to “fix him in place, to pass time in his company, to make sure I remember, even though I know I will never forget.”
Alexander insists that she knew she would marry her husband at first sight, confiding that she felt a “visceral torque” after laying eyes on her future beloved. But perhaps more powerfully, Alexander is able to show how much her husband loved her, how much of his life was dedicated to bringing light to hers.
Readers holding their breath for the details of Ghebreyesus’ death should know that it comes quickly. Here, the pain and uncertainty of death arrive fresh, even though we know what story we signed up to read. Alexander wrestles with the brutal unfairness of it all: “The slim one who eats oatmeal and flaxseed is the one who dies, while the plump one who eats bacon unabashed stays alive.”
Their story is overwhelmingly and achingly beautiful, with passages that elevate ho-hum Sunday dinners to love-drenched culinary affairs. (The inclusion of a few of Ghebreyesus’ best recipes only tease the senses; I’ve got my eye on the shrimp barka.) Their whole lives were art, from the music to the food to the telling of it all—it is a fitting tribute that one of her husband’s paintings adorns the cover.
“What are the odds that we would end up in the same place and fall in love?” she mused. “Once upon a time, halfway around the world, two women were pregnant at the same time in very different places and their children grew up and found each other.” What are the odds, indeed.
Did Marvel get it right with A-Force, its latest contribution to the world of female superheroes? Not if you ask Jill Lepore, Harvard University history professor and author of last year’s well-reviewed The Secret History of Wonder Woman. In a recent op-ed for The New Yorker, Lepore called the Avenger-type squad “porn stars.”
“Maybe it’s not possible to create reasonable female comic-book superheroes, since their origins are so tangled up with magazines for men,” writes Lepore, who won a 2006 Anisfield-Wolf prize for New York Burning. “True, they’re not much more ridiculous than male superheroes. But they’re all ridiculous in the same way.”
G. Willow Wilson, one of the creators of A-Force, responded on her Tumblr: “I imagine Dr. Lepore and I want the same thing: better, more nuanced portrayals of women in pop culture. What I don’t understand is why someone in her position would, from her perch a thousand feet up in the ivory tower, take pot shots at those of us who are in the trenches, doing exactly that.”
Wilson is a writer for the best-selling comic Ms. Marvel, which features a Muslim teen with shape-shifting powers, and she objected to the porn-star characterization head-on: “None of them are in the sexually objectified contortions that have become standard issue in recent decades. They are, in other words, posed the way their male colleagues are typically posed. They are posed as heroes.”
The annual Anisfield-Wolf brown bag lunch series at the Cleveland Public Library takes a twist this year with a deep dive into the Anisfield-Wolf catalog.
Doctoral student Valentino Zullo of Kent State University will introduce Cleveland to Anisfield-Wolf Book Award winners, both past and present. Zullo credits his mentor, Dr. Vera J. Camden, a professor of English at Kent State University, for teaching him the importance of conversation in literature. “It is through the sharing of stories that we are able to find relief from the outside world and learn to reimagine our role within it.”
Beginning Wednesday, June 10, an in-depth discussion of each book will occur over the summer. The Anisfield-Wolf Book Award book discussions will take place at the Main Library, in the literature department on the second floor. Contact the library at 216.623.2881 for more information.
The Wall tells the inspiring story of forty men and women who escape the horror of the Warsaw ghetto from November 1939 to May 1943. Hersey, a Pulitzer Prize-winning American writer and journalist, chronicles events by means of a fictional diary kept by Noach Levinson, self-appointed archivist of Polish Jewry.
A Man Booker prize finalist, Half-Blood Blues takes the reader from 1939 to 1952, and from the smoky bars of pre-war Berlin to the salons of Paris, to discover the story of legendary jazz trumpet-player Hieronymus Falk. Declared a musical genius, he was a 20-year-old Black German citizen when he was arrested in a Paris café just before the outbreak of WWII.
From the slums of Columbia to Iowa City to the South China Sea, Nam Le’s accomplished debut takes the reader around the world with seven stories and seven characters as diverse and imaginatively created as their locales.
New York Times bestselling author Walter Mosley introduces a philosophical urban hero in this acclaimed collection of 14 entwined tales. Meet Socrates Fortlow, a tough ex-con seeking truth and redemption in South Central Los Angeles—and finding the miracle of survival.
Which black actors might best portray Ida Mae Gladney, George Starling and Dr. Robert Pershing Foster, the three real-life protagonists of Isabel Wilkerson’s groundbreaking history of the Great Migration, “The Warmth of Other Sons”?
A-list producer Shonda Rhimes likely has her pick of talent in the small screen adaptation of Wilkerson’s meticulous nonfiction classic, which won a National Book Award and an Anisfield-Wolf prize in 2011.
Shondaland Productions will bring “Warmth” to FX this fall, her company’s first foray into cable programming. Writer/director Dee Rees of 2011’s indie hit Pariah will write the script.
Wilkerson, a Pulitzer-Prize winning reporter, spent 15 years researching the exodus of more than six million African Americans out of the South between 1910 and 1970. If the series sticks close to its source material, viewers will come to know Gladney, who left Mississippi in 1937 for Chicago; Starling, who fled Florida in 1945 for Harlem; and Foster, who left Louisiana for Los Angeles in 1953.
More than 200 prominent authors—among them Anisfield-Wolf winners Junot Diaz and Kamila Shamsie—have publicly objected to the PEN American Center’s decision to present French satirical magazine Charlie Hebdo its Free Expression Courage award. Gunmen aggrieved by the magazine’s depiction of Islam targeted the controversial Paris weekly in January and killed a dozen people.
The signatories of an April letter to PEN argue that power and privilege must be considered when defining courageousness in satire: “The inequities between the person holding the pen and the subject fixed on paper by that pen cannot, and must not, be ignored.” One of the critics is former PEN American president Francine Prose.
Defending the decision, her successor, Andrew Solomon, co-wrote an op-ed for the New York Times, noting that, “Satire is often vulnerable to being construed as hate.” Solomon, who won a 2013 Anisfield-Wolf prize in nonfiction for “Far From the Tree,” expressed respect for those criticizing the award, but argues their emphasis is misplaced.
“I think that if we don’t endorse people who are taking these courageous stances,” Solomon told NPR, “if we don’t recognize the enormous personal risks they’re taking and if we don’t fully acknowledge that in taking that risk they keep a public discourse alive that otherwise is in danger of being entirely closed down, that we miss the purpose of standing up for free speech.”
Charlie Hebdo editor Gérard Biard is expected to accept the award on behalf of the magazine at PEN America’s annual gala in Manhattan May 5.
“I want to hear you say there should be peaceful protests, not violent protests, in the tradition of Martin Luther King,” CNN’s Wolf Blitzer lectured community activist Deray McKesson in a now infamous four-minute interview.
“You are suggesting that broken windows are worse than broken spines,” McKesson answered, contrasting property damage with the injuries that killed Freddie Gray in Baltimore police custody.
Did Marvel get it right with A-Force, its latest contribution to the world of female superheroes? Not if you ask 
The Wall by John Hersey 
