A 2009 National Endowment for the Arts study found that only 8 percent of adults read any poetry in the previous year. Children do better. The Poetry Foundation discovered that the main reasons adults take a pass is loss of interest, lack of time, lack of access, and the perception that poetry is difficult and irrelevant.
U.S. poet laureate Natasha Trethewey, recently appointed to her second term, is working to welcome more adults to the party.
“We can’t know what poem is going to be the poem that brings someone to poetry, comforts them in times of grief, tragedy, and loss, or celebrates with them in times of joy and triumph,” she told the Los Angeles Review of Books last year. “But it is our job — as poets, as teachers, as the poet laureate — to try to bring people to a wide variety of poems so they might find that one among the many.”
During her first year as poet laureate, Trethewey relocated from Emory University in Atlanta to Washington D.C., where she held weekly office hours at the Library of Congress, an nontraditional move for the role. This year, she will film a regular feature on the PBS NewsHour Poetry Series, during which she will travel the country to examine how poetry plays out in the lives of everyday Americans.
Trethewey is also writing a memoir, currently untitled, recounting her experiences as a biracial child in the 1970s. It will be released in 2014. Readers who are impatient can pick up a copy of “Thrall,” or her Pulitzer-winning 2007 collection, “Native Guard.”
As an African-American woman, I’ve had strangers grab and rake their fingers through my hair (without my permission) on more than one occasion. They seem amazed at my soft curls and ask me questions about my hair care regime. Once, when I was flying, my Afro puff on top of my head seemed to require a very thorough pat-down by TSA agents. The woman who checked my hair for weapons remarked, “It’s so full! Wow.”
These encounters illustrate the reality for many black women—what grows out of your scalp (and how) is always more than “just” hair, as exemplified in Chimamanda Ngozi Adichie’s new novel, “Americanah.”
On the Huffington Post, Antonia Opiah, founder of the site Un-Ruly.com, shared her thoughts on strangers’ requests to touch her hair, sharing one noteworthy incident that occurred as she was visiting Paris:
A young, blonde, inebriated mademoiselle stopped us somewhere in the 10th district and rattled off something very quickly and passionately in French. My friend Maxence translated: “She wants to touch your hair.” My response to such a solicitation usually depends on my mood. On this night I was tickled by being asked the question in French, so I obliged. She stroked me. She actually really got in there, so I had to curtly make her stop. I wonder if she got any satisfaction from it and if so, what kind? Did my hair feel good on her hands? Was some sort of curiosity finally satisfied? Or was I simply just a Saturday night amusement?
After this incident and similar stories from women, Opiah created “You Can Touch My Hair,” an interactive public art exhibit that took place June 6 and 8 in New York City’s Union Square Park. Three African-American women with varying hairstyles and textures stood in the square with signs reading, “You Can Touch My Hair.” Onlookers were encouraged to interact with them and, of course, touch their hair.
Of course, the idea is not without controversy. Some online commenters have been vocal about their opposition. One such commenter said, “I find this incredibly gross. This objectification of people of African descent has been ingrained in Europeans and non-Blacks for over a millennium, and this event seems to celebrate that dehumanization.” This commenter identified himself as a white male. Other commenters compared it to a petting zoo and made references to Sarah Baartman, the 19th century black woman put on exhibit at “freak shows” for her voluptuous frame.
“It’s an uncomfortable discussion for a lot of people, but sometimes we have to get comfortable in being uncomfortable to really break ground,” Opiah told the Huffington Post. More than 100 people stopped by the event on June 6, with the “touchers” ranging in age and ethnicity.
When someone asks me if they can run their fingers through my curls, I usually ask, “Why?” They often can’t give me a reason other than the fact that it’s different. Maybe Opiah has a point: maybe we do need to talk about it.
Watch the video of Day 1. Let’s discuss: Has anyone ever touched your hair without permission? Have you ever touched someone else’s hair?
“Some of you may be asking: ‘Hey, John Lewis, why are you trying to write a comic book?’” said the legendary civil rights leader, smiling at the incongruity of this development for an audience at Book Expo America, the annual publishing trade show in Manhattan.
John Lewis was 17 when he met Rosa Parks; 18 when he joined forces with the Rev. Dr. Martin Luther King, Jr. Five years later, he was one of the “big six,” an architect of the historic Civil Rights March on Washington in August 1963. Standing at the Lincoln memorial, Lewis spoke sixth and King spoke tenth, stamping the day with his immortal “I Have a Dream.” Of all those who addressed the throng a half century ago, Lewis is the only one left.
Now, at 73, he has become the first member of the U.S. Congress to craft a comic book. Called “March,” it will publish August 13, the first in a trilogy written with Lewis staff member Andrew Aydin and drawn by Nate Powell, the award-winning cartoonist.
The idea isn’t as whimsical as it sounds. Aydin, a comic book enthusiast from Atlanta, knew that in 1957, a 15-cent comic entitled “Martin Luther King and the Montgomery Story” inspired the Greensboro Four. At least one read the comic and the four students from North Carolina A&T State University decided to sit down in protest at the segregated Woolworth’s lunch counter in Greensboro, N.C.
Lewis himself led a group trying to integrate a Woolworth’s counter Feb. 27, 1960. They prayed and drew on the principles of non-violence. “People came up to us and spit on us and put cigarettes out in our hair,” he told listeners at the Book Expo. “I was so afraid, I felt liberated.” The episode led to jail, the first of Lewis’s more than 40 civil rights arrests.
He grew up on 110 acres in rural Alabama, the third child of sharecroppers who managed to buy the land for $300 in 1940. Young John liked to wear a tie and give sermons to the chickens. Local kids called him “preacher.” As a boy, he was instructed “not to get in the way” of whites, but he still applied for a library card in tiny Troy, Ala, where the librarian scolded him that they were only for whites.
On July 5, 1998, Lewis returned to Troy, for a book signing of his memoir, “Walking with the Wind,” which won an Anisfield-Wolf Book Award that year. “At the end of the program, they gave me a library card,” he said. “It says something about how far we’ve come.”
Lewis said he initially resisted Aydin’s notion that he tell his story in a graphic format. The two were hammering up yard signs in southwest Atlanta during Lewis’ campaign for Georgia’s 5th District seat five years ago and chatting about how to teach the Civil Rights movement to 21st century youth.
“Finally, he turned around with that wonderful half-smile he can do and said, ‘OK, let’s do it,’” said Aydin. “‘Let’s do it, but only if you do it with me.’ ” Aydin called this a threshold event in his life.
Watch a short interview with John Lewis and Aydin at the 2013 Book Expo America
“When you grow up without a father you spend a long part of your adolescence looking for one,” said Aydin, who is now 29. He and artist Powell said “Walking with the Wind” became their Bible as they brought Lewis’ story into the present. The trio frame the trilogy around the 2009 inauguration of Barack Obama.
“We took the accuracy very, very seriously,” Aydin said. Powell, who grew up in Little Rock, Ark., and now lives in Bloomington, Ind., is drawing the second book now. He said he emails with Aydin almost daily, and when they are unclear, they consult Lewis.
“I feel the most important thing is to capture what is not explicit in the script,” Powell, 34, said. “I am looking for the emotional resonance – the doubt, fear, unity and togetherness that characterize the Civil Rights movement but don’t come with captions.”
He said he works hard researching the clothes, food, insects and plants that give his art verisimilitude. “It is very easy to get caught up in the drama of events,” Powell said, “but there is a lot of beauty in the South, in the red soil and the bricks, the kind of walking and talking people in the South do.”
Already, Powell has told one Civil Rights story in graphic form, “The Silence of Our Friends,” set in Houston in 1967 and written by Mark Long. It explores the tested friendship of two men across race.
The Congressman dedicates “March” to “the past and future children of the movement.” He told the publishing crowd in New York that another installment is overdue.
“I believe it is time to do a little more marching,” Lewis said. “I believe it is time for us to move our feet… I hope that this book will inspire another generation of people to get in the way, find a way to get into trouble, good trouble, necessary trouble.”
Films on Princess Diana, Steve Jobs, and Jimi Hendrix should make 2013 a rich year for biopics. An intriguing new one just has been announced: a movie on the life of Lorriane Hansberry, playwright, author, and activist.
The big question is who will play Lorraine? According to Shadow and Act, Taye Hansberry, Lorraine’s grand niece, has been cast. She will also help write the screenplay. Jaleel White (from Family Matters) will play James Baldwin, one of Lorraine’s close friends. Production begins in the fall.
Lorraine’s most-known work, A Raisin in the Sun, was inspired by her family’s attempts to integrate a Chicago neighborhood. Unmarred by violent attacks against them and a court order to move, her family stood its ground. Their case, Hansberry v. Lee, eventually made it to the Supreme Court, which in 1940 set aside the restriction that African American families could not purchase or lease land in that Chicago neighborhood.
Hansberry began her professional life at the black newspaper, Freedom, under the tutelage of actor and activist Paul Robeson in New York City. She wrote her play concurrently, and A Raisin in the Sun premiered in 1959. It was the first Broadway theater produced by an African-American woman. Hansberry became the youngest person ever to win the New York Critics Circle award.
Her second play, The Sign in Sidney Brustein’s Window, opened in 1964 to harsh reviews. However much this hurt, Hansberry stepped up into a prominent role in the civil rights movement, speaking out against racism and homophobia.
The playwright was just 34 when she died of pancreatic cancer. After her death, her former husband, Robert Neimiroff, adapted her collection of essays into a play titled, To Be Young, Gifted and Black. Her close friend, Nina Simone, was inspired by the work and came out with a song of the same name in honor of Lorraine. Listen to it below:
Americanah
Chimamanda Ngozi Adichie
Knopf, 477 pp., $26.95
Hair asserts itself on the first page of “Americanah,” a knowing, prickly and virtuosic novel from Chimamanda Ngozi Adichie. She was 29 when she won an Anisfield-Wolf award in 2007 for “Half of a Yellow Sun”; she picked up a MacArthur Foundation “genius” grant the following year. Her mother, a Nigerian university registrar, likes to say little Chimamanda started to read when she was 2. The writer herself thinks it was probably around age 4.
“Americanah” wears its genius lightly, starting with a pleasurable and assured set-up chapter that puts its central character Ifemelu on a train from Princeton to Trenton, N.J. Her mission: to have her hair braided. After 13 years stateside, most recently on a fellowship to Princeton, Ifemelu has decided to return to Lagos, Nigeria. At the salon, she asks for “a medium kinky twist” and negotiates $40 off the $200 asking price. The salon is thick with relaxing chemicals, hair extensions and black female sensibilities—a rich elixir that brings out the personalities and styles of the women gathered there. The air-conditioner is broken; Nollywood melodramas play across the television. Adiche returns her readers to the shop again and again.
All manner of hair and women come under scrutiny, including “the clamped, flattened” appearance of the current first Lady: “Still, there was in Michelle Obama’s overly arched eyebrows and in her belt worn higher on her waist than tradition would care for, a glint of her old self. It was this that drew Ifemelu, the absence of apology, the promise of honesty.”
Ifemelu herself is blunt; all of her opinions are strong. She writes a popular, anonymous blog called “Raceteenth or Various Observations About American Blacks (Those Formerly Known as Negroes) by a Non-American Black.” The novel contains a handful of these posts – one very long installment is improbably read aloud at a party. The voice is funny, astringent and revelatory: “When white people say dark they mean Greek or Italian but when black people say dark they mean Grace Jones.” I can imagine both Cornel West and Clarence Thomas learning a thing or two. I certainly did – none of it particularly flattering. No place or demographic niche escapes unscathed.
“Americanah”—it should be stressed—doesn’t reprimand. The writing glints; minor characters flair and spark: “The General had yellowed eyes, which suggested to Ifemelu a malnourished childhood. His solid thickset body spoke of fights that he had started and won, and the buckteeth that gaped through his lips made him seem vaguely dangerous.”
At the braiding salon, Ifemelu pegs a young white woman named Kelsey with “the nationalism of liberal Americans who copiously criticized America but did not like you to do so; they expected you to be silent and grateful, and always reminded you of how much better than wherever you had come from America is.” This woman is reading to prepare for a sight-seeing trip to Africa. She finds “Things Fall Apart” “a little quaint, right?” but says “A Bend in the River” made her “truly understand how modern Africa works.” In one withering paragraph, Ifemelu blows up the enshrined V.S. Naipaul novel so completely that it left me gasping. At such moments, it is hard not to see Ifemelu as a doppelganger for Adichie.
Earlier this month, the author told National Public Radio that “this is a novel about love, about race, and about hair.” Ifemelu’s core love interest is her secondary school sweetheart, Obinze, with whom she cuts off communication after she enters a very bad patch in the United States. Obinze, for his part, makes his way to London, and even as everyone in his smart set in Nigeria “joked about people who went abroad to clean toilets,” he starts work with a lavatory brush. Later, at a London dinner party, Obinze listens to guests who are sympathetic to immigrants fleeing atrocity, but not those seeking an economic foothold:
“They would not understand why people like him, who were raised well fed and watered but mired in dissatisfaction, conditioned from birth to look towards somewhere else, eternally convinced that real lives happened in that somewhere else, were now resolved to do dangerous things, illegal things, so as to leave, none of them starving, or raped, or from burned villages, but merely hungry for choice and certainty.”
Adichie’s cultural acuity is a marvel, but she glosses how some systems create more “choice and certainty” and others less. Her observations hug the interior. Much of the book is dialogue. One blog post mentions Beyonce: “We all love Bey but how about she show us, just once, what her hair looks like when it grows from her scalp?”
The author, interested in “the rolling contradictions that were the world,” cleaves them open on three continents. Those who like their literature bracing should crowd in for a look.
If you can’t find the art you want, make it yourself.
That was famously the mindset of Jay-Z, when the rapper started Roc-A-Fella Records in 1995, and that DIY approach animates “Nollywood,” the Nigerian film industry.
Approximately 1,000 Nigerian movies are produced each year, surpassing the 800 films churned out annually in the U.S. For innovators everywhere, digital innovations have lowered technological barriers and production costs. Without a formal distribution model, Nigerian film prospers—many movies are watched at home in a nation of few theaters.
One of this year’s most anticipated projects is the adaptation of Chimamanda Ngozi Adichie‘s novel Half of a Yellow Sun, scheduled for release in November 2013. The book won an Anisfield-Wolf award for fiction in 2007. (Adichie’s new title, Americanah, went on sale this month.)
The film is in the hands of first-time director Biyi Bandele and stars Thandie Newton and Chiwetel Ejiofor as Olanna and Odenigbo, lovers caught in the midst of the Biafran war.
A recent Washington Post story on Nollywood’s expansion to the United States explores Nigeria’s film ascendancy. Director John Uche says, “Nigerians are considered the best writers in Africa, following the griot tradition in West Africa. It is a culture of storytelling. We are taking that culture into film. What do they say? ‘Nobody can tell your story better than you.’”
Pulitzer Prize-winner and former Poet Laureate of the United States, Rita Dove delivered the 2013 commencement address to the graduates of Emory University in Atlanta.
The Anisfield-Wolf jury member spoke on the beauty of imagination and finding confidence as they journey into the unknown. Dove also received an honorary degree, with Emory President James Wagner praising her ability to “generously illuminate the world of beauty that formerly was hidden.”
How did you respond to Dove’s message? Just for fun—do you remember your commencement speaker or their message?
Additionally, one of the nation’s oldest remaining slave cabins will be joining these artifacts in Washington, D.C., according to the New York Times.
The 320-square-foot cabin is being dismantled piece by piece, to be rebuilt inside the museum. It is one of two slave cabins in Edisto Island, S.C. They have stood on the Point of Pines plantation since the 1850s. Neither cabin has ever had electricity or heat, but continued to shelter inhabitants more than a century after slavery ended. The last known occupants moved out some 30 years ago.
Curator Nancy Bercaw said the museum was drawn to this particular plantation because slaves first emancipated themselves there after Union troops set up a stronghold in the Carolinas. The cabin will join the museum’s “Slavery and Freedom” exhibit that covers the post-Civil War era.
The museum will be the first new Smithsonian museum since the National Museum of the American Indian opened in 2004. To get a preview, you can download “View NMAAHC” and “Changing America: To Be Free,” both free apps for the iPhone and Android.
Students at Humboldt State University in northern California analyzed more than 11 months of Twitter data to locate the biggest pockets of hate speech in America.
For the “Geography of Hate” project, students manually sifted through more than 150,000 tweets containing hateful speech targeting sexuality, race, and disability. Student read each tweet to determine whether the slur was used in a positive, negative, or neutral manner. Sample keywords included “homo,” “n*****,” and “cripple.”
To enhance accuracy of the map, researchers “normalized” the data to ensure that larger populations would not appear more racist simply because there are more people living there.
Researchers found that most of the slurs were not centralized to one particular region. A few terms were more concentrated—”wetback,” for example, was more prevalent in Texas than any other state.
The group also mapped racist tweets last November in response to President Obama’s re-election and found high concentrations in Alabama and Mississippi, both traditionally red states.
Do any of the results of this project surprise you?
Anisfield-Wolf jury chair Henry Louise Gates Jr. has been busy the past few months, filming episodes of his new PBS series, “The African-Americans: Many Rivers to Cross.” The six-part documentary will cover more than four centuries of African-American history, starting with the origins of slavery in Africa and moving to the present day.
Leading up to the series premiere, Gates has written a weekly column for TheRoot.com, “100 Amazing Facts About the Negro,” in which he uncovers little-known tidbits about African-American history.
“Over the past 500 years, our ancestors in this country have been as stubborn, determined, idiosyncratic, individualistic, argumentative and complex as the 42 million African Americans living today are,” Gates wrote in the inaugural column.
“Many Rivers To Cross” will premiere Tuesday, October 22 at 8:00 p.m. EST. A new hour-long episode will air each Tuesday until the finale on November 26.
Follow Gates on Twitter and Facebook, as he has been giving occasional behind-the-scenes peeks at filming locations and subjects.
Anisfield-Wolf winner Walter Mosley gave his readers a true cliff hanger in his last Easy Rawlins book, 2007’s Blonde Faith. The writer left L.A. Detective Rawlins clinging to a cliff. Many assumed the reluctant cop was dead. In the past six years, Mosley has focused on his Leonid McGill detective series, and hinted in interviews that Rawlins’ injuries were indeed fatal.
But Little Green brings Rawlins back from the brink. The new novel is set in the late 1960s, when the detective reunites with old friends and navigates a changing place for black men in American society. (Mosley won his Anisfield-Wolf award in 1998 for “Always Outnumbered, Always Outgunned,” the story of an ex-con in Watts.)
Intrigued? Here are some tidbits to hold you over until you can get your hands on a copy:
Have you “liked” Walter Mosley on Facebook? For the past month he’s been sharing excerpts and interviews related to Little Green.
In a piece with Tablet magazine, Mosley talks about being black and Jewish, and how his ease in both worlds influences his writing choices.
A Q&A with the LA Times explores Mosley’s whole career, focusing mostly on the Easy Rawlins series as Mosley’s vehicle for discussions of race, politics and culture.
Little Green is on sale May 14. Visit WalterMosley.com for dates of the national Little Green book tour.
Reacting to the blah, monochromatic nature of typical of Mother’s Day cards, Strong Families, an Alturas, California policy group, launched a line of digital Mother’s Day cards cued into the changing demographics of America’s families.
These cards represent the families that are “beyond the picket fence”: transgender, lesbian, low-income, immigrant, and incarcerated mothers are all featured.
Much like Andrew Solomon‘s exploration of family diversity in his 2012 book Far From The Tree, these cards contain a more imaginative and inclusive depiction of familial love.
Eveline Shen, executive director of Strong Families, said that the inspiration for this line of cards came from families like her own. “I’m raising my own daughters with my same-sex partner. When they go to the store, they don’t find images that reflect their reality. So, they started making their own cards.”
More than 5,000 cards were downloaded in its first year, with the goal of tripling that number in 2013. The cards reinforce Strong Families’ policy work on immigration, marriage equality, and universal healthcare.
Below, Favianna Rodriguez, an artist with Strong Families, explains how the cards are more than just a sentimental message:
https://youtu.be/HsQRj4XT6bI
To see all of the cards available, visit MamasDay.org.
At age 2, Joshua Coyne was removed from his Kansas City home with broken legs and hips. His foster mother was responsible.
He was placed in the care of Jane Coyne, a single woman with a love of classical music. During his recovery, Jane began to play a Puccini aria and to her surprise, Joshua was able to hum it back, note for note. From there, Jane began to help him hone his gift as a musical prodigy.
Young Joshua began formal musical lessons at 4 and two years later, debuted as a paid violinist. He performed for then-Senator Barack Obama at a campaign rally at the tender age of 14. He put his studies at the Manhattan School of Music to use, composing the score of Janet Langhart Cohen’s one-act play Anne and Emmett.
Now, at 20, he is the face of the film adaptation of Rita Dove’s acclaimed book, Sonata Mulattica, Dove’s interconnected poems that tell the story of another prodigy, 19th century violinist George Augustus Polgreen Bridgetower.
Born to a Polish-German mother and Afro-Carribean father, Bridgewater performed all over Europe, thrilling royal audiences and garnering rave reviews. Ludwig Van Beethoven named one of his greatest violin sonatas after his friend and contemporary, but a spat between them caused Beethoven to re-title the work and cut off his friend. Bridgetower continued composing and teaching but gradually fell into obscurity.
It is gratifying that Dove, an Anisfield-Wolf jury member who plays the cello and its forerunner, the viola da gamba, has brought Bridgewater’s life center-stage.
Rita Dove, playing the viola da gamba
The film intersects Coyne’s present journey with Bridgewater’s rightful place in history, adding layer and nuisance to the lives of two prodigies born centuries apart. “This story is a testament to the resiliency of the human spirit in the face of extraordinary obstacles,” said director and executive producer Andrea Kalin. “It reveals how music and art have the power not only to open our hearts, but transform our lives.”
Under the slogan “ideas worth spreading,” the annual TED conferences began in 1990, and have showcased a clutch of Anisfield-Wolf winners. The latest is Andrew Solomon, the 2013 winner for nonfiction, who took the stage in April at TEDMED, an annual program of medical innovators and thought leaders under the TED banner. His talk, “How Does An Illness Become An Identity?” drew from his book Far From The Tree, in which Solomon examines how families adapt – or not — to their children’s unique identities.
He begins by noting the seismic shift of societal attitudes toward homosexuality within a generation. Being gay was called “a pathetic, second-rate substitute for reality” by Time magazine in 1966. Today, marriage equality is endorsed by the president of the United States.
In “Far From the Tree,” Solomon explores ten other conditions, including dwarfism, deafness, Down Syndrome and autism, and asks whether they are illness or identity. The answers are multi-faceted, and stay close to families grappling with children who are radically different. Some reject and harm these offspring, but some find a means of love that allow children and families to gain a new, collective identity.
For Solomon, this is not theoretical territory. He says:
I decided to have children while I was working on this project. Many people were astonished and asked, “How can you decide to have children while you’re studying everything that can go wrong?” And I said, “I’m not studying everything that can go wrong. What I’m studying is how much love there can be even when it appears everything is going wrong.”
Let us know: Have you read Solomon’s Far From The Tree? What do you think of the themes he explored in this talk, with regard to society’s increasing acceptance of conditions (dwarfism, Down Syndrome, homosexuality, etc) that were previously deemed inferior?
Eugene Gloria’s 2012 poetry collection, My Favorite Warlord, won this year’s Anisfield-Wolf prize for poetry. Born in Manila, Phillippines, Gloria uses My Favorite Warlord’s 35 poems to explore Filipino heritage, samurai, fathers, masculinity, and memory.
Publishers Weekly praised the work, noting that Gloria “sets himself confidently against injustice, in favor of inquiry, amid the eclectic language of contemporary scenes.”
Gloria has written two other books of poems—Hoodlum Bird (2006) and Drivers at the Short-Time Motel (2000). His honors and awards include an Asian American Literary Award, a Fulbright Research Grant, a San Francisco Art Commission grant, a Poetry Society of America award, and a Pushcart Prize. He teaches creative writing and English literature at DePauw University.
The road home from war is a long journey to rediscover who you are. Author Kevin Powers, who signed up for the Army at 17 and spent time as a machine gunner in Iraq in 2004 and 2005, wrote his award-winning novel, The Yellow Birds, as a way to help him process what he had experienced on the front lines.
“I started initially writing poems about the war,” he said during an interview with PBS NewsHour. “I’ve been writing poems and stories since I was about 13. And I realized that I needed a larger canvas to say what I wanted to say, to answer the question that people were asking me, which was what was it like over there.”
In the novel, we see life in a war zone through the eyes of 21-year-old private John Bartle. He is tasked with watching over Murph, a younger solider with less experience. Through startling imagery, Powers gives civilians a glimpse at the sacrifices service members make while protecting our freedoms. Powers explores the themes of helplessness and fear, of the harsh inequity on the battlefield, and of the struggle to rediscover “normal” after the tour of duty has ended.
The Yellow Birds won the 2013 PEN/Hemingway award for first fiction and was a finalist for the National Book Award. Powers holds an MFA from the University of Texas at Austin.
Culled from more than 40,000 pages of interview transcripts, Andrew Solomon‘s Far From The Tree takes an exhaustive look at families where the child’s identity is considered to be on the margins of society.
Within the book, Solomon considers how parents navigate the world when a child is deaf, autistic, a dwarf, a criminal, a protégée, has Down Syndrome, and four other identities. Solomon highlights the struggle and beauty in each family’s story, sharing how parents come to accept their children amid the differences that threaten to come between them. The book chronicles the immense love of family, the quest toward a more compassionate world, and the beauty of diversity in all forms.
In deliberations for this year’s awards, juror Steven Pinker wrote: “This is a monumental book, the kind that appears once in a decade. It could not be a better example of the literature of diversity.”
In a recent interview on the ThinkPiece blog, Solomon commented on the major theme that runs through all his books:
My topic ever since I began, and I started work on my first book when I was twenty-four, has been the large question of how people are able to turn the experience of adversity into triumph. And how people transform the perception of their own life experience in order to achieve that point of view. A lot of that work is about pain. It’s really about what people do with pain. It’s about the idea that when you have an experience that is sad or painful, you needn’t say that life is over and there’s no point in going on. You can rather say, “I wish I didn’t have this experience, but I’m going to try to build something out of it.”
Anyone interested in the book should take a moment to visit the website, FarFromTheTree.com, a visually stunning complement. For example, you’ll find videos and resources for each of the themes explored in the book, including the book trailer (shown above), which does much more justice to the book than we could put into words.
Solomon is also the author of The Noonday Demon: An Atlas of Depression, which won the 2001 National Book Award for Nonfiction and was named one of the 100 best books of the decade by the London Times. Solomon lives with his husband and son in New York City and London.
Laird Hunt is the author of five novels and one short story collection. His latest book, Kind One, won the 2013 Anisfield-Wolf award for fiction. In a video interview with Rain Taxi, Hunt describes being moved by a short passage in Edward P. Jones‘ The Known World, which prompted him to start writing Kind One:
“He describes this anecdote about a woman who lives in this imaginary county he’s constructed, who lives with her husband and two female slaves. One day the husband comes up dead and the slaves turn the tables on her and enslave her in turn. And then it’s over and never mentioned again. But I got really interested in what would happen if this woman, many years later, describes what happens, with the idea of placing her voice somewhere in the slippery middle between victim and oppressor.”
Watch the full interview here:
Kind One was also a 2013 finalist for the Pen/Faulkner Award for Fiction. Hunt lives in Colorado with his wife, poet Eleni Sikelianos, and daughter. (Fun fact: Hunt was helping his daughter with a project on Martin Luther King Jr when he received the call that he had won the Anisfield-Wolf award.) He is currently on the faculty of the University of Denver’s Creative Writing Program.
For more on Hunt, visit his website at LairdHunt.com.
We’ll be spending this week exploring the lives and works of the 2013 Anisfield-Wolf Award winners. Today we’re recognizing Wole Soyinka, this year’s Lifetime Achievement winner.
The greatest threat to freedom is the absence of criticism. ~Wole Soyinka
A playwright/poet/essayist, Soyinka is one of Nigeria’s most beloved figures. Repeatedly, he has risked his life to protest the corrupt governmental regimes. In 1967, he was arrested and put in solitary confinement for 22 months for his attempts at brokering a peace between the warring Nigerian and Biafran parties warmongering in his homeland. He kept writing during this time, creating ink in his cell and using scraps of paper to collect his poetry.
Wole Soyinka’s Ake: The Years of Childhoodwon an Anisfield-Wolf Book Award in 1983. Three years later, he went on to become the first African to win a Nobel Prize for Literature.
At 78, he splits his time between the United States, where he teaches at Loyola Marymount University in Los Angeles, and his home outside of Lagos in Nigeria. He narrates the introduction of the new documentary, “Fuelling Poverty,” which protests the Nigerian government’s oil subsidy scandal of 2011.
“[Nigeria] is one of the poorest and most corrupt nations in the world,” he says in the introduction. “This film, made by the younger generation, is about the oil subsidy scheme. It is about a culture of greed and corruption and its effects on the people. But it is also about a people of great resilience, of people who are finding their voice, who care deeply about their country and dare to ask for a better world for themselves.”
Watch the full documentary below (22 minutes):
Soyinka is acutely attuned to global perceptions of Nigeria. He criticized “Welcome to Lagos,” a 2010 three-part documentary made by the BBC, for being colonialist and exploitative. He told the Guardian newspaper, “There was no sense of Lagos as what it is – a modern African state. What we had was jaundiced and extremely patronizing. It was saying, ‘Oh, look at these people who can make a living from the pit of degradation.'”
Soyinka added: “It is a pulsing city – in many ways too pulsing for me, which is why I live a little way out of it. But it is such a rich city, and it is deeply frustrating to see it given such a negative and reductionist overview.”
The jury has spoken and five new authors will join the Anisfield-Wolf family.
“The 2013 Anisfield-Wolf winners are exemplars who broaden our vision of race and diversity,” said Henry Louis Gates, Jr., who chairs the jury. “This year, there is exceptional writing about the war in Iraq, slavery on a Kentucky pig farm, the Filipino experience in the U.S., and the complexity of families in which a child is radically different from parents.”
Gates directs the W.E.B. Du Bois Institute for African and African-American Research at Harvard University, where he is also the Alphonse Fletcher University Professor. He praised the singular achievement of Wole Soyinka, the Nigerian whose writing won a Nobel prize in 1986, three years after he won an Anisfield-Wolf award for his memoir, Ake: The Years of Childhood.
Cleveland Foundation President and Chief Executive Officer Ronald B. Richard said this year’s winners reflect founder Edith Anisfield Wolf’s belief in the unifying power of the written word.
“The Anisfield-Wolf Book Awards rose from the philanthropic vision of one woman who realized that literature could advance the ongoing dialogue about race, culture, ethnicity, and our shared humanity,” Richard said.
The Anisfield-Wolf winners will be honored in Cleveland Sept. 12 at a ceremony at the Ohio Theatre hosted by the Cleveland Foundation and emceed by Jury Chair Gates. Stay tuned this week as we profile each of our 2013 winners.
