“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:
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.
Take a look at Jean-Michel Basquiat’s mesmerizing 1984 painting “Trumpet.” It inspired a new poem from Adrian Matejka that he calls “& Later,”
Matejka won an Anisfield-Wolf Book Award last year for “The Big Smoke,” his Jack Johnson-infused collection. Now the Indiana University professor is putting together a new book called “Collectable Blacks.”
“I get caught up easily in Jean-Michel Basquiat’s paintings, especially his work focusing on boxers and jazz,” Matejka said. “His painting from 1984, ‘Trumpet,’ cracked open a tense holiday moment from my childhood. I don’t remember any actual trumpets at that holiday fracas, but Basquiat’s lines and pigments always seem to create unexpected opportunities for improvisation and meditation.”
Matejka made this observation for staff at the American Academy of Poets, which sent “& Later,” to some 300,000 readers September 4 as part of its digital dose of verse. Readers can sign up for the “Poem a Day” project.
& Later,
Adrian Matejka
—after “Trumpet,” Jean-Michel Basquiat
the broken sprawl & crawl
of Basquiat’s paints, the thin cleft
of villainous pigments wrapping
each frame like the syntax
in somebody else’s relaxed
explanation of lateness: what had happened was. Below blackened
crowns, below words crossed out
to remind of what is underneath:
potholes, ashy elbows, & breath
that, in the cold, comes out in red light
& complaint shapes—3 lines
from the horn’s mouth
in the habit of tardy remunerations.
All of that 3-triggered agitation,
all that angry-fingered fruition
like Indianapolis’s 3-skyscrapered smile
when the sun goes down & even
the colors themselves start talking
in the same suspicious idiom
as a brass instrument—
thin throat like a fist,
flat declinations of pastors
& teachers at Christmas in the inner city.
Shoulders back & heads up when
playing in holiday choir of hungry
paints, chins covered
in red scribbles in all of the songs.
Claude Steele, 69, has spent his professional life thinking about stereotypes. He knows how easily we drop into a defensive crouch around race and sex, ethnicity and gender nonconformity.
“I learned somewhere in the middle of my life that a whole world will open up to you that you didn’t know you didn’t know – if you ask questions,” Steele told the new entering class of students at Case Western Reserve University. “Ask a person a question and you will make friendships you didn’t anticipate. It’s a remarkable tactic, and a handy strategy.”
Steele, executive vice president and provost at the University of California-Berkeley, coaxed the 1,260 new students at Case to spend their academic years as explorers instead of confined inside the safe territories of group identities.
Steele is the author of the 2010 book, Whistling Vivaldi: And Other Clues to How Stereotypes Affect Us. The title comes from an anecdote described in the first chapter: Brent Staples, now a New York Times editorial writer, would reassure skittish pedestrians he encountered at night in Hyde Park by whistling. Staples was a graduate student at the University of Chicago who hit upon the tactic after watching frightened whites cross the street and clutch their belongings when he passed.
The provost quotes Staples’ 1995 Anisfield-Wolf award-winning book, Parallel Lives: “I became an expert in the language of fear. . . Out of nervousness I began to whistle and discovered I was good at it. My whistle was pure and sweet – and also in tune. On the street at night I whistled popular tunes from the Beatles and Vivaldi’s Four Seasons. The tensions drained from people’s bodies when they heard me. A few even smiled when they passed me in the dark.”
Steele, who earned a degree in psychology in 1967 from Hiram College, remembered visiting Case to hear the legendary behavioral psychologist B.F. Skinner. Steele went on to earn his doctorate in psychology from Ohio State University in 1971.
In warm tones, he described his early experiments that demonstrated university students faltered on standardized tests when they belonged to groups that were negatively stereotyped: women taking difficult math and science exams, for example, and African Americans competing against whites and Asians. The negatively stereotyped students scored a full grade lower, or one standard deviation poorer, than their GPAs would predict.
But if the students were told that women always scored just as well on this particular math test, the difference between genders would disappear. And if students were told the test did not measure cognitive abilities but was just a puzzle the researchers were studying, the African Americans scored as high as the whites and Asians.
“One does not have to believe for a minute in the truth of the stereotype for it to affect you,” Steele said. “You just have to be aware of it. Stereotype threat works if you care about doing well in an arena where your group is negatively stereotyped.”
These dynamics pose a particular challenge to places of learning, he said. “Almost any setting where you bring people together in an integrated society is going to have cues that trigger stereotype threat.”
Simple diversity training often doesn’t work, and can make matters worse, Steele said. But give people opportunities to learn, and particularly to ask questions, and they become more open and nuanced in their thinking. In real experiments, he said, folk will move their chairs closer when stereotype threat is reduced.
He thanked the CWRU community for reading Whistling Vivaldi, and smiling, added, “or at least intending to read this book.”
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.
Poet Jericho Brown, winner of an Anisfield-Wolf Book Award this year, has written a 14-line poem that begins with the names of flowers and concludes with the names of men. He calls it “The Tradition.” Brown notes, “The poet’s relationship to language and form is an addiction where what’s past is present, a video on loop. Not watching won’t make what that video says about our future go away.”
He made this observation to accompany “The Tradition” as the American Academy of Poets sent it to some 300,000 readers August 7, part of its “Poem a Day” project, which has been distributing poetry digitally since 2006.
A native of Louisiana and a professor of English at Emory University, Brown will accept his Anisfield-Wolf prize in Cleveland next month for his second collection, “The New Testament.” He will read at Trinity Cathedral at 7 p.m. Wednesday September 9. The gathering in the nave is free and the public is welcome.
The Tradition
Aster. Nasturtium. Delphinium. We thought
Fingers in dirt meant it was our dirt, learning
Names in heat, in elements classical
Philosophers said could change us. Star Gazer. Foxglove. Summer seemed to bloom against the will
Of the sun, which news reports claimed flamed hotter
On this planet than when our dead fathers
Wiped sweat from their necks. Cosmos. Baby’s Breath.
Men like me and my brothers filmed what we
Planted for proof we existed before
Too late, sped the video to see blossoms
Brought in seconds, colors you expect in poems
Where the world ends, everything cut down. John Crawford. Eric Garner. Mike Brown.
Novelist Walter Mosley, the creator of the private investigator Ezekiel “Easy” Rawlins, has just published a ruminating essay called “Patter and Patois.” He reflects on a lifetime of storytelling, and his Louisiana heritage of stories and storytellers. The 1,800-word piece is homage to his roots.
“I’m not saying that you have to be a reader to save your soul in the modern world,” Mosley writes. “I’m saying it helps.”
Most celebrated for his crime fiction, Mosley, 63, won an Anisfield-Wolf Book Award in 1998 for “Always Outnumbered, Always Outgunned.” He grew up an only child in South Central Los Angeles, and has lived most of his life in New York City. When Bill Clinton mentioned in 1992 that Mosley was among his favorite writers, the Rawlins series enjoyed a spike in sales.
Readers can take a brown bag lunch to a discussion of “Always Outnumbered, Always Outgunned” downtown at the Cleveland Public Library, Wednesday, August 26 in the literature department. It is led by Valentino Zullo and is part of the library’s Anisfield-Wolf reading series.
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.
Anisfield-Wolf award winners are—almost by definition—civic minded.
They continue a generous tradition of adding extra public conversations each September in Cleveland. For those readers whose schedules don’t allow them to attend the awards ceremony or who want more than one chance to hear these gifted writers, here are the details:
Poet Marilyn Chin, a professor at San Diego State University, will read and discuss her work in Hard Love Province. She will appear alongside John Carroll University’s Phil Metres, whose recent book, Sand Opera, has also drawn national honors. Both writers ponder identity, culture and Diaspora. They will appear at noon Wednesday, September 9 in the atrium of MOCA Cleveland, 11400 Euclid Ave.
Historian Richard S. Dunn will give a multi-media presentation on his landmark book, A Tale of Two Plantations: Slave Life and Labor in Jamaica and Virginia at 5 p.m. Wednesday September 9 at the Baker-Nord Center of Case Western Reserve University. Dunn spent more than four decades researching thousands of individuals over three generations, yielding ground-breaking insights into daily plantation life.
Novelist Marlon James will speak about his life and work at the City Club of Cleveland at noon Friday September 11. HBO optioned his Anisfield-Wolf winning book, A Brief History of Seven Killings, in April. James will take a sabbatical this upcoming academic year from teaching at Macalester College in St. Paul, Minn., to write the screenplay.
The first three events are free. Registration is requested for the Dunn presentation. Those keen to hear Marlon James at the City Club should buy a lunch ticket or tune into the broadcast on WCPN 90.3 FM.
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.
LaTosha Brown, jazz singer and project director of Grantmakers for Southern Progress, told a story on herself: Having gleefully decided to break her diet, she passed a homeless man eating outside the Atlanta restaurant she had chosen. Brown went in, savored her fried chicken and saved half for later. When she exited, the man asked her for her leftovers.
On a stage in the Louis Stokes wing of the Cleveland Public Library, Brown stamped her foot, mimicking her frustration.
“I get this from my grandmother: if somebody tells me they are hungry, I don’t ask questions, I give them food,” she said. “But I had saved that chicken wing and I wanted it for dinner. I said, ‘You probably eat better than me.’ And he said, ‘You think I shouldn’t?’
“And I didn’t sleep all night.” Brown, a quarter century into her activism in civil rights, felt humbled. The man was right—she had considered herself more deserving, despite a lifetime as a church-going Christian.
Brown challenged her listeners, gathered by the Foundation Center-Cleveland, to get uncomfortable, and to examine who makes them so. The audience, assembled to consider “the intersection of Black male achievement, LGBTQ issues and the empowerment of low-income women,” had real individuals to think about—thanks to a lightning round of storytellers, played back on tape.
Timothy Tramble spoke about his childhood in Cleveland’s Hough neighborhood as it is reflected today in the lives of young black men growing up in the Garden Valley Estates public housing, part of his territory as executive director of Burton, Bell, Carr Community Development, Inc.
“Many people growing up in a dysfunctional environment don’t recognize that dysfunction,” Tramble said. “To think out of the box, you need some time out of the box.” For him, that time was college.
Max Rivers, a new graduate of St. Martin de Porres High School, said he likes Chipotle, writing and sweaters – and wearing a tie. “I like the tie; makes me feel male, which is not always easy for me.”
Assigned female at birth, Max said he worked for his tuition and could not afford the surgery available to wealthier transgender people. He said he came out as male to his lesbian mother on Pride Day between his sophomore and junior years – a declaration she rejected. Now he worries his college applications will be voided as he legally changes his name.
For her part, Fatimah Zahra described herself as “a proud Cleveland State Viking,” having already earned an associate degree. The daughter of a single mom with eight children, Zahra said she grew up amid hunger and zero expectations.
“I literally came from nothing,” she said. “I didn’t feel like I was good enough. I had people tell me I wouldn’t be nothing, that I belonged in a kitchen. I was surrounded by drugs and violence and could have went down that route.”
Brown took in these stories and declared, “talk about intersectionality: too poor, too black, too gay. For all these folk, somebody always thinks they deserve more than them.”
Brown keynoted an afternoon called “Rising Tide: Remix,” seeded in a conviction that “a rising tide of philanthropic support and social innovation can solve entrenched problems and address community challenges head on.”
Brown said, “In philanthropy, we act upon people, we aren’t directed by them. And when people aren’t part of the change, they are not part of the change.”
Nelson Beckford, senior program officer for strong communities at the St. Luke’s Foundation, mused about whether any foundation would fund Mahatma Gandhi—with no board of directors, without other funders: “We probably wouldn’t fund him.”
Brown added, “Charity doesn’t necessarily create change . . .When we try to help the other without asking them how, we’re simply treating them as an experiment.”
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.
“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.
