He also reminded the audience at Playhouse Square that Hughes was still a teenager, newly graduated from Central High School in Cleveland in 1920, when he wrote The Negro Speaks of Rivers. “Every time I think of an 18-year-old writing a poem that great,” Brown deadpanned, “I really hate Langston Hughes.”
Now Brown has returned to this “first poet” in his pantheon, publishing an evocative, moving post “To Be Asked for A Kiss” on the Poetry Foundation web site.
Suicide’s Note by Langston Hughes
The calm, Cool face of the river Asked me for a kiss
Brown ponders Hughes’ 14 words, written sometime before he was 24; the poet’s lifelong preoccupation with rivers and the meanings of suicide – as both noun and verb – in the single tercet, and in Brown’s own life, and the lives of young, gay black men.
In introducing Brown to Cleveland in September, Dr. Henry Louis Gates praised the Emory University professor, saying that the jury singled him out “for his penetrating and elegant portrayal of the complexity of human identity in a digital, multicultural universe, generally, and more specifically, the complexity of black identity, encompassing the multiple and competing claims and denials of African American masculinity and personhood.”
Brown’s most recent essay makes the case for Langston Hughes’ poetry as a wellspring of that masculinity and personhood. He makes the case – with a poem called Suicide’s Note – for Hughes’ immortality.
In March 2012, U.S. Representative Bobby Rush stood on the House floor dressed in a gray hooded sweatshirt, one month after Trayvon Martin was shot dead in a Florida suburb. “Just because someone wears a hoodie, does not make them a hoodlum,” said the Illinois Democrat. “Just because someone is a young Black male and wears a hoodie does not make them a hoodlum. . .” He was escorted off the floor and out of the chamber by the sergeant-in-arms for violating decorum.
Author Alison Kinney begins her “Hood” – publishing this week — with this telling moment. Part of the publisher Bloombury’s “Object Lessons” series, “Hood” contains a definite chill as Kinney tracks the history and significance of the garment through the 15th century to the present.
“We all wear hoods,” Kinney writes, “but our hoods evoke everything from recess and the wind chill factor to executioners and cross burning.” The hood, at its core, is all about power, she writes: who has it, who lacks it and where the power originates.
Kinney tells a riveting story of the origins of the Ku Klux Klan’s hooded uniforms. The deadly persistent terrorists of the Klan originally lacked cohesion: some members simply wore blackface to conceal their identities (and taunt their victims) and others donned horns or flour sacks. But after D.W. Griffith’s The Birth of a Nation premiered in 1905, the cinematic outfits became standard. Factories opened in Atlanta to mass-produce the regalia, outfitting some 100,000 new recruits. Kinney doesn’t editorialize here, because she doesn’t need to—the facts are eloquent.
The adoption of the “hoodie” over the past few decades as a ubiquitous part of American wardrobes reflects our need for protection from the elements. But as Kinney reports, the “only criminals don hoodies” stereotype became a convenient and covert way to discriminate against Black people. A Harlem bodega threatened trespassing charges on customers wearing hoodies; several school districts restricted hoodies as part of the dress code. “There are lots of crimes happening on Wall Street, but we don’t stop and frisk people who wear Brooks Brothers suits,” one interviewee says. “What suit was Sheldon Silver wearing? What kind was Bernie Madoff wearing?”
This examination is part of the strength of the Object Lessons series. (Other titles look at “Silence,” “Glass,” and “Dust.”) Kinney, a writer in Brooklyn, New York, knits seemingly disparate subjects — burkinis and gentrification, for example — together in such a way that the connection is instantly appreciated – and she does her work in fewer than 200 pages. It’s thought-provoking without the lecture.
In examining these small yet significant objects of daily life, we find new meaning in the world around us. Next time you get a little chilly and reach for your hoodie, thank Kinney for this history lesson.
Marlon James begins his 2-minute video on racism with the following question: “Are you ‘non’ or are you ‘anti’?”
Published by the Guardian and viewed more than 10 million times, the video asks viewers to grapple with their own sense of personal responsibility when it comes to dismantling white supremacy. James broke down his thoughts on non-racism vs. anti-racism when he spoke at the Cleveland City Club September 12. Here is a handy video recap of his point to share with friends:
As the chair of the National Book Critics Circle‘s nonfiction committee, our awards manager Karen R. Long had a steady stream of captivating titles hit her doorstep every month. This week, she partnered with Cal Zunt of the Notable Books Council of the American Library Association and Fay Walker of the City Club to lead a discussion on the best books of 2015.
For those unable to attend and hear her top picks in person, they’re presented here, with brief commentary on why each book deserves room on your bookshelf. (Click the book covers to read more in-depth reviews.)
The Book of Aron by Jim Shepard
Happy Dog owner Sean Watterson studied with Shepard, whose writing he admires as much as I do. I find myself using the fateful “M” word – “masterpiece” for Shepard’s meditation on the Warsaw Ghetto during World War II, all in the voice of a child who actually sounds like a child.
Eileen by Ottessa Moshfegh
“Eileen” is a shocking suspense novel set over one winter week in a Massachusetts town in 1964. It centers on a deeply troubled 24-year-old misfit girl who works in a juvenile prison. This debut will appeal to readers who like Poe and Shirley Jackson. Newcomer Moshfegh writes fearlessly and so, so well.
Gold Fame Citrus by Claire Vaye Watkins
“Gold Fame Citrus” is a dystopic work that imagines a near-future California when nearly all the water is gone. Writing with the bite of Annie Prouxl and the western desolation of Joan Didion, Watkins adds a bit of Terry-Gilliam-like humor but is a complete original. The story follows a young couple and a wayward toddler out into a new desert wilderness.
Outline by Rachel Cusk
“Outline” is probably my favorite book, sentence by sentence. Rachel Cusk writes a seemingly quotidian set-up of a woman from England flying to Athens for a summer teaching fellowship. This brilliantly inventive novel consists of people speaking to her, and considers what stories we allow people to know about us, the outlines we reveal. Engrossing.
The Sellout by Paul Beatty
“The Sellout” is hilarious and deeply outrageous, a satire that Paul Beatty writes with wit and ferocity. It centers on a black urban farmer who decides the way to get his dying town back on the map is to reinstitute plantation slavery, for which he is hauled before the Supreme Court. EVERYBODY is skewered.
Between the World and Me by Ta-Nehisi Coates
“Between the World and Me” contains the most important sentence of nonfiction written last year: “In America, it is traditional to destroy the black body – it is heritage.” Posed as a letter to his 15-year-old son, Ta-Nehisi Coates delivers the most urgent and necessary book for grappling with current American history.
Dreamland: The True Tale of America’s Opiate Epidemic by Sam Quinones
I traded sleep in order to keep reading “Dreamland,” by far the best investigation of the American opiate epidemic. It begins, in fact, with a Columbus, Ohio, couple crushed by the loss of their beautiful son, and explains the way enterprising, once impoverished Mexican farmers turned the poppy on their mountains into a pizza-style system-of-delivery of black-tar heroin to every mid-sized American town primed by the over-prescription of pain killers.
H is for Hawk by Helen MacDonald
“H is for Hawk” is the book I most frequently buy and give away – enchanted by Helen MacDonald’s wit, writing, scholarship and attempt to fly a goshawk, a predator of unbelievable lethality that she calls Mabel. MacDonald hoped the bird would cure her grief for her father, but this hybrid story is much messier and truer than that.
SPQR: A History of Ancient Rome by Mary Beard
“SPQR: A History of Ancient Rome” is the book from classicist Mary Beard that will bring a thrill to a topic that has undergone a revolution in the last 50 years, not to mention since Edward Gibbon wrote “The Rise and Fall of the Roman Empire” 250 years ago. Beard takes up topics that Gibbons never dreamed to address: class inequities, prostitution, the prevalence of gout in a culture of overeating. Stupendous.
Strangers Drowning: Grappling with Impossible Idealism, Drastic Choices and the Overpowering Urge to Help by Larissa MacFarquhar
“Strangers Drowning” is an investigation of radical goodness, which turns out to be complex and difficult and rarely pursued, despite our universal impulse to try to be good. The author profiles individuals who sacrifice deeply for strangers, and punctuates these with short chapters on the moral and philosophical considerations. In a world overrun with books on evil, “Strangers Drowning” is a fascinating corrective.
Come learn more about the Cleveland that helped shape Langston Hughes, Toni Morrison, and Harvey Pekar. Teaching Cleveland has teamed up with Literary Cleveland and the Anisfield-Wolf Book Awards to present “Cleveland in Print: The History and Literature of Northeast Ohio” on Thursday, January 28.
The story of Cleveland in the 20th Century is one of immigrants and migrants, racial tensions, and economic stratification. Join us as we examine three works by these three Northeast Ohio writers and explore the interplay between person, place and perspective; bring a notebook or a laptop and explore your own connections as well.
A light dinner will be served, and participants will receive a book, compliments of the Anisfield-Wolf Book Awards.
“Here is a unique opportunity to reflect on transcendent American literature tied to the 216,” said Karen R. Long, manager of the book awards. “I have enormous respect for the work of Greg Deegan and Arin Miller-Tait as innovative educators and founders of Teaching Cleveland, and Lee Chilcote for his initiative in bringing Literary Cleveland onto the scene. This night should be worth everyone’s time.”
In a year characterized by racial urgency, the local Martin Luther King Jr. essay contest is expanding to accept entries from students, faculty and staff at Cuyahoga Community College, as well as those at Case Western Reserve University.
Participants are invited to reflect on King’s connection to Cleveland and the fight for equal rights in our backyard. (King first visited Cleveland in 1956 to speak about the Montgomery Bus Boycott, returning often to raise funds, campaign for Carl Stokes’ bid for mayor and help organize a local boycott.)
The essays should reflect the themes in King’s first book, Stride Toward Freedom, which won an Anisfield-Wolf Book Award in 1958. Winners will receive a monetary prize and a copy of one of King’s books.
Sponsors include the Cleveland Humanities Collaborative, Voices from the Village, Baker-Nord Center for the Humanities, the Anisfield-Wolf Book Awards, Kelvin Smith Library, the Case Office of Inclusion, Diversity, and Equal Opportunity and the Office of Multicultural Affairs.
The beginning movements of this essay began with a complex question: Which author’s reading from the 80th Annual Anisfield-Wolf Book Awards would I choose to reflect upon? I describe the question as complex because while each award recipient—Jericho Brown, Marilyn Chin, Marlon James and Richard S. Dunn—gave memorable readings, I found myself wanting to reflect on the writer (a non-recipient of the award) whose work struck me the most with feelings of anger, bleakness and dignity. I chose Joesiah Poulson, who commenced the readings with his unforgettable poem, “Am I Invisible?” He wrote this while still in fourth grade, using it to explore, document and investigate struggle and self-doubt. I had to choose Joesiah.
Ronn Richards, CEO of the Cleveland Foundation, introduced Joesiah with the expected credits: the poet’s full name, school, grade level and title of poem. Audience members learned that Josiah’s presence at the 80th annual award ceremony was the result of a partnership with Kent State University’s Wick Poetry Center. When Richards announced Joesiah’s title “Am I Invisible?” an unsettling small ripple of laughter flowed throughout the audience.
It was a disturbing beginning. Had the audience just laughed at Joesiah’s title, finding it funny? Did they laugh as a way to say, “Yes, Joesiah, you are invisible and it is comical that you’ve asked such a question?” Perhaps the audience’s laughter was the result of discomfort in knowing a young poet, a child, is in tune with the disturbing themes Ralph Ellison explored in his novel Invisible Man — racism, limitation, stereotypes and self identity.
But, as usual, in moments of awkwardness and discomfort, the poet rises. Joesiah begins his reading and the speaker of the poem opens with testimony:
I’ve been down long roads,
said yes when I meant no.
I lost control of the wheel.
This is not the kind of testimony I expect a boy of 11 to write about. Joesiah is prematurely expressing his awareness of hard times, insecurity and powerlessness. Joesiah‘s decision to begin the poem with a first person speaker creates an urgent transparent mood and emphasizes the personal testimony theme of the poem. Joesiah continues with a structure complete with questions and statements. The second stanza questions an unknown second person. The second stanza asks:
Do you ever wonder
when you listen to the thunder,
why your world feels so small?
The narrator quickly shifts the attention to the second person. This shift forces readers and audience members to ask themselves a question. It is as if the narrator is asking readers to consider the ideas of feeling insignificant and unimpressive. And, perhaps the narrator is asking readers to consider the feelings of the unknown “I” from the preceding opening stanza, as in — put yourself in my shoes. Joesiah is ultimately asking readers to empathize.
Joesiah’s poem is short and made of six stanzas (each stanza is a tercet). Joesiah decides to make his narrator continually ask questions throughout the poem. Four questions are posed throughout the poem (and let’s not forget that Joesiah even titles his poem as a question — “Am I Invisible?”). The third stanza is solely made of questions. Joesiah writes:
Do you ever think
what you’re standing at the brink of?
feel like giving up, but can’t walk away?
The author creates a timely poem filled with one of our most important tasks: Delivering testimony and asking questions in order to create conversations around some of our most sensitive and challenging topics: race, identity, racism and hardship. In the most haunting line (line 12) of the poem the narrator introduces the notorious “they” pronoun:
Put yourself on the line,
though you feel inside
like they don’t know you’re alive.
Joesiah’s voice offered an unsettling timbre during this part of his reading at Anisfield. His innocent and naturally child-like voice carried throughout the auditorium with an uncomfortable spirit of sadness and hopelessness. It seems that one of Joesiah’s aims in writing “Am I Invisible?” was to announce his alertness of how distant we are from reaching the very goal and dream of the Anisfield-Wolf Book Awards. There is very little to show as evidence that we are, as Joesiah writes, at “the brink of” change or close to solutions for diminishing racism and embracing human diversity. Joesiah is clearly aware that “they” are mercilessness and cruel.
Then there is a shift in the reading and in the poem. By the fifth stanza of the poem there is a sense that something must change. The solitary speaker turns the question on the self. Joesiah writes:
Night after night trying to decide,
am I going to speak out
or get lost in the crowd?
A decision has to be made. In the final stanza of the poem Joesiah decides:
When the lights go down in the city
I’ll be right here
shining.
Joesiah brings hope and determination even as he closes the poem with dark imagery, “Night after night” (line 13) and “When the lights go down” (line 16). We are to believe that despite going through “long roads” and getting “lost in the crowd” — we must stay strong. Joesiah ended his reading with a sudden and unpredictably confident and determined voice. His message was clear: we must continue to shine even in hard times. A woman sitting next to me responded to Joesiah’s reading with an erupting “Amen!” and the entire auditorium exploded with applause, cheers and whistles.
Joesiah‘s skill to take readers (and audience members) through a wide range of emotions: despair, hopelessness, angst and then back to hope is impressive. A novice writer, Joesiah shows admirable control over the elements of diction, structure and rhyme. The fifth grade poet has earned the ahead-of-his-time marker. His poem forces us to get honest about the effects of racism and the damage that comes with denouncing human diversity. Joesiah answers his own questions and ultimately takes matters into his own hands. He shows us how critical it is to rely on the self for answers, validation, and strength.
Ali McClain is a Cleveland poet and graduate student. She directs an after-school program for girls ages 10-18 at West Side Community House. She is also a co-founder of acerbic, an artist collective.
by Dr. Anand Bhat
In 2007, when I asked my driver in Caracas if evangelical Christianity had been making its way into the oil-rich jungles of Venezuela, he nodded, smiled, and said, “Yes, they say officially they are here for the Church of Pentecost, but I think they are here for the Church of the CIA.” In every developing nation, that nod and that smile and that second story represent the beginning of almost every great storytelling session I have had about recent history and current events.
Listen to me now. Me warn him… Long time I drop warnings that other people close, friend and enemy, was going get him in a whole heap o’trouble. Every one of we know at least one, don’t it? Always have a notion but never come up with a single idea. Always working plenty of scheme but never have a plan… Me not going name who but I warn the Singer…. Me love that man to the max. Me would take a bullet for the Singer. But gentlemens, me can only take one.
Writer Marlon James has won this year’s Anisfield-Wolf and Man Booker prizes by driving us past recent Jamaican history. In a cacophony of voices, versions, and views, James writes a fictional exploration into the 1976 assassination attempt on reggae superstar Bob Marley. In A Brief History of Seven Killings, quoted above, readers embark on a violent and entertaining ride through Kingston slum fights (sponsored by warring political parties) that become a Cold War flashpoint in Michael Manley’s Jamaica. Marley, perceived to be supporting the socialist People’s National Party, falls victim to that fateful winter election and the CIA. The book then shifts to the United States where Jamaican political gangs morph into nonpartisan drug smugglers, tolerated by intelligence communities willing to overlook drug money if it goes towards fighting socialism and communism. Until it gets out of hand.
The book, whose rights have been sold to HBO for a TV series, should do well as a long form television drama. A populous that once stood at the docks to snatch up the latest installment from Charles Dickens now awaits the latest weekly HBO serial, one of contemporary America’s strongest art forms. James’ novel fits the format with its motley mix of characters and politics (“Game of Thrones”) and urban and police violence (“The Wire”). As East becomes West, the West too has become East by picking up a taste for epic legends with endless sub-stories, ambiguous facts and no definitive, singular truth. All thrive on a range of viewpoints, versions and classes.
From the deceased MP to the barely intelligible ramblings of a crack-fueled shooter, readers absorb from top to bottom a long overdue cultural multiplicity in A Brief History of Seven Killings. No one knows who served Mr. Darcy tea, but we all know who serves Lord Grantham tea. All of this points to progress. It points to the widening of the literary establishment’s mind but not perhaps as wide as it celebrates.
James’s novel most reminds me of Vikram Chandra’s magnum opus, Sacred Games, about a Mumbai police investigation into an Indian mafia don. Thick with pages and characters, Sacred Games exposes the connections between the underworld, police, politicians, and the film industry. Chandra also leaps into the future and the past with intercalary chapters that covered Naxalite rebels, Indian secret intelligence and the Partition of British India. Few novels set in the developing world can parallel A Brief History in quite the same way.
Published to positive reviews, Chandra’s novel did not have the sales or impact other South Asian books did. Even compared to other literary and popular books about South Asia (Bookseller of Kabul, All the Beautiful Forevers, Three Cups of Tea, Shantaram), it never received critical or popular mass appeal. It is rare to find on bookshelves today.
Why A Brief History of Seven Killings and other South Asian novels would have similar trajectories while Sacred Games did not is clear to me. The former have appeals to Western sensibilities that the third does not. Three Cups of Tea (for example) has a strong element of Orientalism with the classic story of a Westerner coming to Asia and educating rural women. A Brief History of Seven Killings tells a story about music and a musician famous throughout the West that cannot help but arouse interest in the United States. American characters from Rolling Stone and the CIA help ease the transition into the unfamiliar worlds of Jamaican politics and Kingston slums. If the book was about an assassination attempt on Prime Minister Manley and not Marley, we may not be having this award or book review.
Meanwhile film and music references in Sacred Games were unabashedly Bollywood; secretive government agencies were the CBI not the CIA, and the bogeyman feared is Pakistan not Russia or Cuba. No one smuggles drugs to the United States or London. No white people, no Christianity, no Clint Eastwood references, and no colonialism at all!
A Brief History of Seven Killings is a fantastic book, and it will make a fantastic HBO series given the novel’s natural similarity to the channel’s specialty—epic dramas. But Sacred Games moved me more deeply as it was a book deeply rooted in its culture and unapologetically Indian. Perhaps when we award books we should examine why some get attention and some do not and question the cultural biases we have against looking deeply into a truly “foreign” book. A truly open mind can wade into another world mentally without needing the props of the world it just left behind.
Anand Bhat grew up in Texas and practices medicine in Cleveland. He blogs at bhatany.wordpress.com.
Twitter was made for pithy public intellectuals like Roxane Gay. Nearly 100,000 people follow the author and professor for her perspective on everything from the the 2016 presidential race to her growing obsession with HGTV shows. (She hate-watches House Hunters, like most people.)
Her latest two books—Bad Feminist, a collection of essays on gender, race and competitive Scrabble, and her debut novel, An Untamed State, about the aftermath of a Haitian woman’s kidnapping—were published in 2014. But pairing a high profile with two books in a single year creates at least one drawback: “The more you’re read, the more ‘crazy’ reads your work.”
Sitting comfortably in front of her audience last month at the University of Akron, Gay, 41, shared that her increased visibility has led to increased harassment online — from racial slurs to death threats. “It’s a very sad commentary on contemporary discourse that I’m not entitled to an opinion that you disagree with and you can’t just say ‘I disagree,’” she said. “It’s ‘I disagree and you’re ugly.’ ‘I disagree and you deserve to die.’ . . . It’s really frustrating.”
The Nebraska-born, Yale-educated thinker almost didn’t write her recent New York Times piece on the student protests at the University of Missouri, because of the hostile response she was sure to follow. In the end, she sent it to her editor and braced herself. “They get under your skin because it’s not just one; it’s hundreds,” Gay said. “All day, every day. Eventually you’re like, I have to say something.”
As an English professor at Purdue University, Gay makes a strong case for student activism and creating spaces where it can flourish. “The idea of safe spaces is so complicated, because the world is an unsafe place and there’s no controlling it. There’s no controlling how people are going to behave in this world. But I can control my classroom, at least to an extent.” She paused. “I work very hard to foster what I think is a productive intellectual environment. It’s safe, yes.”
In November, PEN Center USA honored Gay with the 2015 Freedom to Write award. Her brief speech cut to the chase — her success as a writer is not about being fearless, but about confidence in her voice: “I allow myself to believe my life experiences have relevance. I allow myself to believe my voice matters in a world where as a woman, as a black woman, as a Haitian American woman, as a bisexual woman, I am told to remain silent in so many harmful ways. Those who disagree with me, often on Twitter, call this arrogance and I am absolutely fine with that.”
Kenneth Warren, a University of Chicago literature professor, asked a gathering of students and faculty in Cleveland this fall to reflect on a famous 1968 classroom experiment – the one that teacher Jane Elliott created as a “Blue Eyes/Brown Eyes” exercise with her Iowa third-graders.
The day after the assassination of the Rev. Martin Luther King, Jr., Elliott divided her class between brown and blue-eyed children, arbitrarily declaring that brown eyes were better.
“The results are almost immediate and remarkable,” Warren said, recalling a famous documentary made about the experiment. “Students with brown-eyes began to treat students with blue eyes, some of whom they had, until that moment, regarded as best friends, as if they are indeed inferior and pariahs, while students with blue eyes began to behave diffidently and sullenly, and, when prompted, readily attribute any mistake or misstep they make to their having blue eyes.”
What’s more astonishing is that Elliott announced the next day that she made an error, and that blue-eyed people are superior. As Warren describes it, “her students do not balk at the seemingly arbitrariness of what has occurred, but rather repeat the previous day’s dynamic.”
In Cleveland, Warren describes Elliott’s exercise as “innocent of history,” in fact, anti-historical in reversing the brown eyed/blue eyed equation. This emphasis on process instead of context points to “a problem that has bedeviled progressive thought at least since the critique of essentialism took center stage in the 1970s. This problem can be expressed quite simply as the observation that despite the fact that we thought we had the correct critique of it (it’s a social construction, not a biological fact), race has persisted as a way of organizing cultural and social life, and racism continues to persist as a social fact.”
In a gentle voice, wearing a black jacket over jeans, Warren turned to works of both fiction and nonfiction to illuminate this conundrum. He quoted from the book by Karen Fields and Barbara Fields called “Racecraft: The Soul of Inequality in American Life.” The writers align racecraft with witchcraft: powerful systems of belief that people act upon as given truths.
Warren spent much of his lecture drawing upon William Faulkner’s 1948 anti-lynching novel, “Intruder in the Dust.” It is the story of a young white boy, Chick Mallison, who is rescued from an icy creek through the intercession of a black man, Lucas Beauchamp. In the process of drying off and accepting Beauchamp’s food and shelter, Chick’s encounter with what he has assumed were “Negro” food and smells is a revelation. The boy confronts, as Warren argues, “the reality that what he assumed to be innate and given, was, in reality conditional and contingent.” This insight corrodes Chick’s birthright supposition that “to be a Southerner would be forever to smell the odor of Negro subordination as part of one’s heritage.
Gesturing frequently with his glasses, Warren drew his listeners into considering the tension between group identity as a form of vibrancy and a system that preserves inequity. “I am beginning to tread on the discursive territory occupied by #blacklivesmatter, whose name makes evident its concerns, and commentator Ta-Nehisi Coates in Between the World and Me and his Atlantic Monthly essay on reparations in which he demonstrates a preference for the term ‘the black body’ as a way of describing the target of American racial practices.”
Warren challenged his audience at Case Western Reserve University to think about whether the rhetoric of the Black Lives Matter movement is an echo of the “blue eyes/brown eyes” conundrum of Jane Elliott’s Iowa classroom. What matters is not the putative color of our bodies or our lives, but the processes and mindsets that makes color matter. He pointed out that group identity works better for some groups than others, and “for those on the bottom, not so much.”
Violence permeates nearly every page of “The Education of Kevin Powell.” Neighborhood boys, relatives, authority figures and even the author himself doles out pain aplenty in this memoir and coming-of-age story.
Born and raised in a poverty-stricken Jersey City neighborhood, young Kevin’s early years are a series of grim vignettes—fights on the school yard, nightmares about rats in the walls and a few brief visits from a father scarcely there. From such beginnings he grows into a prominent activist among the post-Civil Rights generation—fighting police brutality, racism and sexism.
Powell, 49, traces his love for words to the Greenville Public Library, where he stumbled upon “For Whom the Bell Tolls” as an 11-year-old. He fell in love with Ernest Hemingway. “If I could not physically leave my hometown, or escape the numbing sensation of being trapped in a concrete box,” he writes, “well at least my mind could be free to go wherever a book or play or poem took me.”
If the library sent him on imaginative adventures, his adolescent temper often landed him in terrible straights: Powell scrapes with a high school classmate and an interfering police officer knocks him out. He draws blood fighting with his cousin. “I don’t think you gonna make it, boy,” his mother says on more than one occasion, usually after a brush with the law. “You been givin’ me trouble your whole life.”
But Rutgers University provides a portal to a better sense of self, history and pride. Langston Hughes and Zora Neale Hurston on the syllabus of a Harlem Renaissance course awakened his ear: “The language that my people spoke, including my mother and my Southern kinfolk, was beautiful poetry, as fine as anything that I ever studied by Shakespeare, Chaucer, or Keats.”
The reader watches the writer organize and clash with campus peers simultaneously, and sees him land a place as a cast member of the first season of MTV’s The Real World in 1992.
Immediately after, Powell joined the staff of Vibe magazine, a new hip-hop publication founded by Anisfield-Wolf winner Quincy Jones. But a few years in, he becomes disillusioned. After criticizing management and confronting other staffers one too many times, Powell is fired. He uses the next two decades to write 11 books, give speeches in all 50 states and launch two idealistic bids for Congress in Brooklyn.
While his professional trajectory makes up the bulk of the book, Powell’s relationship with his mother is its heartbeat. She is his constant companion — their first night apart is his first day at Rutgers. A stern woman who pushed her only child to excel academically, she was quick to dole out beatings for small infractions. Her son vacillates between yearning for her love and choking down his bitterness toward her. When fellow hip-hop activist Sister Souljah attempted to hug him, Powell’s instinct was to pull away. “In my eighteen years of life my mother and I had never hugged, had never kissed, had never said to each other, ‘I love you.'” “The Education of Kevin Powell” falls short in grappling with how this harshness affected relationships with women, and with himself. The writer breezes past his contemptuous treatment of lovers and others, alongside stints in therapy. Powell does, however, open up about his depression and alcoholism, following his dismissal from Vibe.
The book’s pacing is problematic and some of its stories here deserved a stronger arc. Powell’s reunion with paternal relatives after his father’s death should feel celebratory, but it is flattened by brevity.
In spite of such flaws, “Education” is powerful, and worth reading, a searing testimony worth much more than an entire series of “The Real World.”
One of my favorite Maya Angelou quotes—one I love so much that I gave all my friends an illustrated copy of it—is: “My mission in life is not merely to survive, but to thrive; and to do so with some passion, some compassion, some humor, and some style.”
So when the keynote speaker at the first Cleveland Single Moms Conference dropped this gem mid-way through her talk, I felt an instant connection. Robyn Hill, a licensed counselor with a practice on the east side of Cleveland, made Angelou the focus of her keynote, sharing with more than 75 attendees 11 insights from the author of “I Know Why the Caged Bird Sings.”
“Stand up straight and realize who you are, that you tower over your circumstances” seemed particularly apt.
Professor Michelle Rankins led a lunchtime session punctuated by two Angelou poems, “Phenomenal Woman” and “I Love the Look of Words.” The discussion was so rich around the first that the group hardly had time for the second.
The group read “Phenomenal Woman” in unison, forceful and strong voices booming through the open air of the Cleveland Galleria. “When I read it, it made me think that beauty is internal,” one participant said. “When you find your inner strength,” another noted, “no one can touch you.”
Conference organizer Frechic Dickson, founder of the nonprofit From Lemons 2 Lemonade, reached out to Books@Work to create the session.
“We believed being able to have a table full of women expressing themselves through the pages of poetic literature could become a life-changing experience,” said Dickson, who oversees Books@Work for women in East Cleveland Municipal Court. “The Books@Work session allowed single moms to share their experiences, their interpretations, and most of all, their commonalities with each other through those poetic pieces.”
For her part, Ann Kowal Smith, Books@Work founder and executive director said, “Not everyone works in a traditional company large enough to support Books@Work. Community programs help us meet people where they are–in their schools and libraries and, in this instance, their conference.”
The Single Moms Conference offered Books@Work the chance to reach readers who might feel isolated. “Moms spend so much time reading to their children, but they rarely have time to read for themselves – much less discuss what they read with others,” Smith said. “We wanted to change this, at least for one hour. And by selecting poetry we hoped to show that a reading session doesn’t have to be long to be nourishing for the soul and productive for the mind.”
One participant observed, “The world says [black women] are less than but this poem says what people should look at us and see.”
by Gail Arnoff, adjunct professor, John Carroll University
The first time I read The Color of Water, I was deep in the woods of Otter Creek, a lovely wilderness in West Virginia. In my hammock strung between two trees, with the musical creek flowing just below our campsite, I began to read. From the first page I was fascinated by the story of James McBride and his mother, Ruth Jordan McBride. I didn’t climb out of the hammock until hours later, when I’d finished the book. That summer I was planning a seminar, “Questions of Identity,” for Case Western Reserve University and was looking for pertinent memoirs. I knew immediately that The Color of Water would make the reading list.
In the past eight years I have introduced McBride and his mother to more than 135 students. The Color of Water tells the story of Ruth, born an Orthodox Jew, who leaves her family to marry an African American man and is, according to Orthodox Jewish tradition, then considered to be dead. When her husband dies she is pregnant with her eighth child (James). She then marries another African American man and has four more children before he dies. With very little money but an unusual amount of “chutzpah” (nerve), Ruth gets her children into the best schools and sees them all graduate from college. Then Ruth, her maternal job done, earns her own degree in social work. Although McBride writes that his mother had “little time for games, and even less time for identity crises,” my students — most of them in their first year of college — are at a perfect age for questioning who they are. Reading The Color of Water not only provides a forum to discuss race, religion, and identity, but also models a way for them to tell their own stories and those of their family.
While teaching at Ohio State University, McBride wrote a story he felt compelled to tell. I ask my students to write a story in a similar urgent vein about themselves or someone else in their family. One student wrote about a brother’s suicide attempt; for this paper he spoke to his brother for the first time about what had happened, a family secret that was never discussed. Another wrote about her father’s desertion of the family when he returned to Colombia. Other students took a lighter tack, describing humorous family stories. When I first present the assignment, some worry that their story won’t be significant, and certainly not as dramatic as that of McBride’s family. Once I assure them that any story they choose to tell will be significant, I am amazed at the papers they write.
At the end of the semester, many of the students choose The Color of Water as their favorite book. Some years I change of few of the titles in the syllabus, but I have no plans to eliminate this memoir.
In 2014 I began facilitating discussion groups for Books@Work, a program which brings professors and books into various workplaces. For one session I met with mentors and parents from the Intergenerational School. Without knowing much about the participants, I decided to use The Color of Water. In each of four sessions, we discussed a topic illuminated by the Jordan/McBride family, as well as our own. I began by asking each person to tell us where she came from, and I suggested that the group members could interpret that in any way. By the time we had gone around the room we knew that we were women of all ages, of various educations and several religions. And we discovered that we all had stories to share.
We talked about Ruth’s refusal to reveal anything about her background; childrearing; and racial and religious exclusion. In the last session, we discussed the burden of family secrets – in the book as well as in our own families. Most of all we talked about our identity, and the places from which it comes. So many passages in the book triggered discussions, including McBride’s own declaration: “Now, as a grown man, I feel privileged to have come from two worlds. My view of the world is not merely that of a black man but that of a black man with something of a Jewish soul….[When] I look at Holocaust photographs…I think to myself, There but for the grace of God goes my own mother—and by extension, myself.”
The Color of Water is a marvelous text for young people and adults, an evocative opener of discussion. I never tire of teaching this book. Italo Calvino defines a classic as “a book that has never finished saying what it has to say.” On each reading—and there have been many—I find something new in The Color of Water. James McBride offers us lovely writing, as well as a memorable family story which I feel privileged to share with my students.
Gail Arnoff received her B.A. from Western Reserve University and her M.A. from John Carroll University, where she currently teaches in the English Department. She also facilitates a seminar, “Questions of Identity,” in the SAGES program at Case Western Reserve University.
Journalist Ta-Nehisi Coates is very clear on his role: Dig for the truth and get out of the way. “If you are going to be a writer you have to write into the wind. You have to say, ‘I’m prepared to do this and give my all, even if only 20 people read the book.'”
Many thousands have embraced Coates’ Between the World and Me, which caught fire immediately upon its July release and topped the New York Times bestseller list. It is a National Book Award finalist and earned a jacket blurb from Toni Morrison, who crowned Coates the successor to James Baldwin. “I’ve been writing for 20 years—all of this is recent,” he said. “I liked what I was doing before this happened and I’ll like what I’m doing when this goes away.”
Sitting across from City Club of Cleveland CEO Dan Moulthrop, Coates said he works hard not to be distracted. His focus is “to map out and discover” the cumulative narrative of racism: Why have we not grappled with 350 years of government-sanctioned plunder of black communities?
The 40-year-old Baltimore-born writer took inspiration from James Baldwin’s short 1963 book, The Fire Next Time and wanted Between the World and Me to deliver that same punch—inquisitive, lyrical and haunting, all in a quick 150 pages.
His goal with Between the World and Me, he told the audience gathered at Cleveland State University, was not to “speak for all black people” but instead to “speak to something in all Black people.”
When asked what white people could do to eradicate white supremacy, the newly named MacArthur “genius” said that the burden of creating an equal society lies on the shoulders of those who maintain it. “The first step is to not ask black people what to do. You then are throwing it back on me to figure out a problem you caused. If I have my foot on someone’s neck and I say to you, how do I get my foot off your neck, well, you’re doing it.”
One woman asked Coates about his phrasing of race—”people who think they are white,” “people who think they are black.” He answered, “There’s no real consistent notion of race across time and geography,” mentioning Brazil’s racial constructs and the shifting classification of Italian immigrants over time. “Any definition of race always depends upon power.”
Watch the conversation in the video below:
Essayist and author Daniel Mendelsohn speaks on the Case Western Reserve campus as part of the Think Forum series. Photo credit: Daniel Milner
Cultural critic Daniel Mendelsohn paused in Cleveland this October before his written remarks to take in the stunning, restored Temple-Tifereth Israel, repurposed at the heart of a new Maltz Performing Arts Center.
“I am dazzled by the space we are all sitting in,” said Mendelsohn, gesturing toward the burnished wood and subdued golds. The auditorium reminded him of the ruined beauty of many Eastern European synagogues, abandoned with “trees growing in the middle of them now.”
He also wryly noted, as a platter of pink shrimp hors d’oeuvres shimmered past during the faculty reception, “It’s not a synagogue anymore.”
The celebrated writer, a classicist whose essays appear in the New Yorker and the New York Review of Books, traveled extensively for five years, visiting Ukraine, Poland and Lithuania, as well as Israel, Sweden, Denmark and Australia, to report his much-honored memoir, “The Lost: A Search for Six of Six Million.”
Eli Wiesel reviewed the book in the Washington Post nine years ago, finding it “rigorous in its search for truth, at once tender and exacting.” The New York Times praised its meditations on conflicting ways of storytelling, a thread that Mendelsohn took up in his Cleveland remarks, “’Lost’ Between Memory and History: Writing the Holocaust for the Next Generation.”
Photo credit: Daniel Milner
The six relatives in Mendelsohn’s subtitle were a maternal great-uncle, Schmeil Jager, his wife Ester and their four teenage daughters: Lorcka, Frydka, Ruchele and Bronia. For more than three centuries, the family had lived in “a small, pre-Carpathian Polish town” called Bolechow, now part of Ukraine.
The reader enters “The Lost” through the youthful sensibilities of young Daniel, who grew up enthralled by his snappily-dressed, successful grandfather, and who spent part of his childhood provoking tears in Florida from certain elderly European Jews: the great nephew so closely resembled Schmeil. A handful of surviving photos of Jager, reprinted in “The Lost,” capture a strong echo between the two men’s eyes, mouth and posture.
When the Germans marched into Bolechow in July 1941, some 6,000 Jews called it home. In August 1944, as the Soviets’ army arrived, “48 survivors emerged from the forest, the cellars, the haystacks where they had been hiding.”
Some sixty years later, Mendelsohn began searching for this remnant. He also discovered the names of his six relatives in the Yad Vashem database for Shoah victims. Yet the archival information turned out to be “wrong, all wrong, the spelling of names, the dates of births and deaths, the spelling of parents’ names.”
“Why does this matter?” he asked. “It matters to me precisely because we are in a hinge moment: still close enough to care about small things, small inaccuracies that depart from the truth. But in 2000 years, will it matter that a young woman died at 21, not 18? That large events are made of small details?”
Mendelsohn, 55, is deeply interested in the moral drift inherent in storytelling. He is keenly aware that that his own experience – writing “The Lost” – moved what happened into “the story of what happened.”
The book’s raw material was a fragment of a welter of stories – belonging to “perpetrators, victims, neighbors, survivors.” One such survivor kept her secrets. Meg Grossbard told Mendelsohn, “You think you deserve to know all this because it’s part of ‘history.’ This wasn’t history to me. This was my life. And my life belongs to me . . . If I tell you my story, it will become your story.”
With the perspective of a classicist, Mendelsohn asked his audience – gathered for the first ThinkForum of the academic year – to consider how catastrophic and complex Jewish slavery in Egypt was, now boiled down into the Haggadah, stories reduced to a ritual two hours.
“We today are too close to the Holocaust to assess what it will mean,” he said. “My own, seemingly big book, is not but a grain of sand. In 2,000 years, Lorcka will have disappeared.”
Mendelsohn seems reconciled to this notion. “People of the future will need room to live their own lives.”
Tom Pantic, a junior at Hiram College in Ohio, wanted to know how poet Eugene Gloria felt about being put in the Asian box.
Gloria, known for his nuanced poems exploring identity, geography and masculinity, took a moment in the college’s wood-paneled Alumni Heritage Room to gather his thoughts on a complicated question.
“I’m OK with being grouped with Asian American poets – I’m very proud of that community,” he said. “It is a problem to be put on the ethnic shelf, with ‘American poets’ shelved elsewhere – that’s a problem for me. I’m happy to represent. I’m a Filipino poet but there are many other identities I inhabit.”
Gloria, now 58, was the youngest of six children when his family left Manila and settled in San Francisco. The first poem in “My Favorite Warlord” is called “Water.” It begins:
The street when I was five
was a deep, wide river
coursing through a shimmering city.
I had no need for proper shoes,
no need for long pants.
I didn’t yet know how to make
Conclusions and say, “Life’s like this . . .”
Gloria, who won a 2013 Anisfield-Wolf Book award for “My Favorite Warlord,” read “Water” several times over three days in Hiram. He visited high school students, ate dinner with English majors and gave a warm, wry public appearance, part of a Big Read initiative this fall in Hiram. “It took me five or six years to finish ‘Water,’” he told those gathering in what was once the college library.
“The students from both local high schools and Hiram College . . . came away with a new understanding of the power of poetry to convey deep emotions, to comment on social issues, or just to crystallize a moment in time,” noted Gloria’s host, Professor Kirsten L. Parkinson, who directs the Lindsay-Crane Center for Writing and Literature at the college.
“How unfortunate to think I have an ‘in’ because my name is exotic enough,” Gloria in an interview said after his reading. “Mostly I feel sad. This is another instance of – racism is probably too strong – of misperception. Poetry is an opportunity for me to be honest about my identity. I like what [anthology editor] Sherman Alexie called it, ‘colonial theft.’ ”
Alexie made the controversial decision to keep Hudson’s poem in the 2015 anthology; Gloria plans to incorporate this episode into the discussion of the creative writing workshop he leads at DePauw University in Greencastle, Indiana.
“I like to go to Indianapolis occasionally to take care of my Asian needs – fish sauce, good rice,” Gloria riffed in his gentle, mellifluous voice. He then read “Here, On Earth,” adding, “yes, happy poems are possible.”
The October evening in Hiram served as a welcome tour of “My Favorite Warlord” with Gloria providing insights into individual poems. He began the book sparked by an observation from Susan Orleans, who suggested that boys of 10 define the man they will become at 40. Gloria realized that at 10 he was a schoolboy at St. Agnes Elementary School in the Haight Asbury neighborhood in 1967, a fascinating spot in a momentous year. So he began writing poems constellated around 1967, but as he worked, “My Favorite Warlord” developed a parallel meditation on Gloria’s father, inflected with an interest in the 16th century Japanese warrior Toyotomi Hideyoshi.
“It became an accidental book in that I was conflating my thoughts about Hideyoshi with meditations on my father,” Gloria told a DePauw University staff writer. “People assume that ‘my favorite warlord’ is my father, which really isn’t the case. But I don’t mind the mistake, because on some level I was thinking about both of them as one thing.”
For his part, Pantic loved the poem “Allegory of the Laundromat,” also a favorite of Anisfield-Wolf Jury Chair Henry Louis Gates, Jr. Pantic quoted the final line in his introduction of Gloria:
Who gives a whit about the indelicate balance of our weekly wash?
“A Ballerina’s Tale” is a delightfully intimate portrait of Misty Copeland—full of close-ups, uncomfortable silence, and peeks behind the curtain of one of the nation’s most prominent dancers. Documentary-maker Nelson George spent three years filming.
Balletomanes already know much of the biography: As one of six children raised by a single mother in San Pedro, California, Misty found refuge from a sometimes unstable home at the local Boys & Girls Club, where she first took a ballet class at 13. In the 20 years since, she has become the face of modern dance, appearing everywhere from The Late Show With Stephen Colbert to Prince’s Welcome to America tour. But that fame didn’t happen overnight.
When she was 17, Misty moved from California to New York to join the American Ballet Theatre’s (ABT) Studio Company. She arrived to find herself the only African-American dancer among a corps of 80. Copeland, a beautiful woman who smiles with her whole face and shoulders, admits she felt inadequate, struggling with racial and body image issues. She numbed herself with sugary vices like Krispy Kreme donuts: “I didn’t want to go to class; I didn’t want to have to look at myself in the mirror.”
In 2012, the director selected Copeland to dance the Firebird, in Alexei Ratmansky’s Firebird, a game-changing role, and her first turn in a principal role as a professional soloist. Her ABT mentor Susan Fales-Hill invited powerful black women to see the performance—BET President Debra Lee attended—and congratulate Copeland on her success. The dancer was in excruciating pain, dancing through multiple stress fractures in her leg. But for Copeland, there was no other choice but to take the stage: “I understood that I had to make it work. I knew that the night stood for something so much bigger than me and beyond what I could even imagine.”
Her stellar Firebird led to a dinner with George, an award-winning journalist and filmmaker. Copeland’s work was his first ballet experience; he was hooked. He wanted to document the way the ballerina was remaking the art, and the audience. Copeland agreed: “What I’m trying to do is get people in the door because I think once they get in the door of the theater, they’ll see the beauty and just how incredible the art form is.”
George and Copeland started shortly thereafter, filming orthopedic surgeons debating whether to put a steel rod in her leg, and later, her return to the stage.
She triumphed, dancing Odette/Odile in Swan Lake, the first African-American woman to do so. A little over a month later, she smashed another barrier, becoming the first black women promoted to principal ballerina at ABT—a goal a decade in achieving.
Viewers mark the mental and physical fortitude it takes Copeland to reach the top—Copeland is on her feet (excuse me, on her toes) for hours a day, running between class, rehearsal, physical therapy and work as a spokesperson for Under Armour, Dr. Pepper and Coach.
An informal city sidewalk gathering of Copeland friends and fellow dancers to toast to her massive new Under Armour billboard is perhaps the most touching moment. The “I Will What I Want” campaign signaled a shift to ballerinas glorying in athleticism and strength, right alongside NFL quarterback Tom Brady and NBA point guard Stephen Curry. A moment I was waiting to see—Copeland speaking about achieving her dream of principal ABT dancer—went missing. George just tucks in a simple note toward the end.
While the film is solid on Misty’s professional endeavors, the documentary fails to flesh out Misty the person. Outside of a cameo from Leyla Feyyaz, her best friend and a former dancer, viewers don’t see who makes up Copeland’s inner circle. The same gap occurs with her family, although Copeland has explained that the narrow focus on ballet was intentional: “I didn’t want this to be a ‘Misty movie’—I wanted to show people what ballet was,” she told Jezebel.
None of this would have been possible without the trailblazing black ballerinas who came before Copeland. Viewers should stay through the credits for the ‘black ballerina curtain call,’ which includes Raven Wilkinson, Janet Collins and Carmen de Lavallade. “It’s my favorite part of the whole documentary, the end,” Copeland says in Elle magazine. “I always get teary eyed.”
This past September, Jericho Brown, Marlon James, Marilyn Chin and Richard S. Dunn accepted their 2015 Anisfield-Wolf awards at a sold-out ceremony at the Ohio Theatre in Playhouse Square, while David Brion Davis addressed the crowd in a pretaped acceptance speech. Peek into their magical evening with this 2-minute highlight clip:
As I approached the ballroom of the Cleveland Convention Center to reach the Open Doors Academy luncheon, I heard a commotion that seemed a bit out of place–more like a pep rally. Students flanked both sides of entrance to the ballroom, arms outstretched, giving enthusiastic high-fives to each guest. “No one asked them to do that,” executive director Annmarie Grassi shared with the audience. “That enthusiasm is all their own.”
More than 500 attendees filled the ballroom to support Open Doors Academy, a 13-year-old enrichment and leadership nonprofit serving some 400 students in Northeast Ohio. These students, buoyed by academic tutoring, volunteer projects and summer camps, boast a 100 percent high school graduation rate and 97 percent of participants pursue post-secondary education.
These are astounding and encouraging numbers when nearly 90% of the students enrolled in programming live below the poverty line. It is a population that writer Jonathon Kozol, keynote speaker for the event, knows well.
With his sleeves rolled up and blue sneakers on his feet, Kozol, 79, looked like a man of action. For the past five decades, Kozol has become known as one of the most respected education writers in America, with 13 books investigating America’s racial and class disparities both inside the classroom and out. He won the Anisfield-Wolf book award for nonfiction in 1996 for Amazing Grace:The Lives of Children and the Conscience of a Nation, a 300-page treatise on living conditions of poor children in the South Bronx.
“Why did I give a book about destitute children that optimistic title?” he shared. “Here’s why: because in the midst of all the desolation in which those children lived, I came upon a little miracle: a beautiful afterschool program in a small Episcopal church called St. Ann’s.” This program, he noted, was not unlike the origins of Open Doors Academy, which got its unofficial start as a drop-in program at a Cleveland Heights church.
After graduating from Harvard University in 1958, Kozol began teaching in the Boston Public Schools, where he was later fired for teaching a Langston Hughes poem. He moved on to another district, before shifting his attention to writing about his pupils, the young men and women living in the poorest, most segregated cities in the country. Cleveland, unfortunately, bears striking resemblance to the South Bronx.
“As central cities start to shine again…it is very easy to lose sight of those we left behind. Fifty-four percent of children in this city live in poverty,” Kozol told the crowd, as a recent U.S. Census Bureau report now puts that number closer to 60 percent.
The gulf between adequately funded schools and its struggling counterparts is getting wider, Kozol said, thanks in part to “pathological” testing standards that are driving out good teachers in schools that need them most. Whereas wealthier parents feel empowered to opt out of testing, lower-income families hesitate to make such a move.
“Critical thinking is flourishing still in top suburban high schools, schools that have plenty of money,” Kozol said. “Well-educated parents in those districts want their kids to grow up with the ability to ask discerning questions, to interrogate reality so that in their adult lives they can take a real role in the workings of democracy and they can help shape the future of our nation. It’s less common in the inner-city schools, especially in the schools that serve the black and brown and very poor. Poverty is not the only issue at stake here.”
Education analysts have projected more than 2 million teachers will hit retiring age in the next decade, which is why Kozol said we need to recruit passionate educators and respect the ones in the trenches every day with our students: “I still think teaching is a wonderful profession and there are so many marvelously creative teachers. I don’t want to lose them.”
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:
James’s novel most reminds me of Vikram Chandra’s magnum opus, 
Gail Arnoff received her B.A. from Western Reserve University and her M.A. from John Carroll University, where she currently teaches in the English Department. She also facilitates a seminar, “Questions of Identity,” in the SAGES program at Case Western Reserve University.
Mendelsohn, 55, is deeply interested in the moral drift inherent in storytelling. He is keenly aware that that his own experience – writing “The Lost” – moved what happened into “the story of what happened.”
“A Ballerina’s Tale”