Tag Archives: Claudia Rankine

Reading Room and Gallery 21

The Reading Room and Gallery is a space where I share things I come across that I think you might like too  – some are things of beauty, some just bowl me over with their brilliance, some are things I think we could all learn from, some are artistes I want to support by spreading the word, and some just because. Let’s continue to support the arts and the artists by rippling the water together. For earlier iterations of the Reading Room and Gallery, use the search feature to the right. This is the 21st one which means there are 20 earlier ones (can’t link them all). Remember to keep checking back, this list will grow as I make new finds until it outgrows this page and I move on to the next one.

INTERVIEWS

Judd Batchelor: What advice would you give to young writers
Dorbrene O’Marde: Two things. Firstly, I want them to write, keep writing it will get better as you write more – read the full interview

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“I just looking to give back, I looking to show that you can be some body, especially in the arts.” – Sheena Rose

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“I didn’t set out to write a faerie story, just write myself out of the headspace I’d landed in because of this unexpected negative encounter. As I wrote, I was drawn in by the challenge of doing something I hadn’t done, I enjoy experimentation, and something about taking this negative and working through it in a genre where typically good and bad are clear, and they all lived happily ever after, appealed. Also appealing was this idea of how passion for something can help it flourish, and how good can attract good, do good and good will follow you; and then the faerie was there awakened by, responding to the goodness that this girl was sending her way. It was an interesting development, and I enjoyed exploring it – and that this became a faerie story is the thing I’m most excited about. I like when something I’m writing surprises me.” – Joanne C. Hillhouse

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“The heart wants what it wants. But I chose to, and aspire to, becoming as good a writer as possible in the circumstances, given the relatively short space of time I’ve got left.” – Andre Bagoo

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“What I am coming to realize is that long before my preoccupations and obsessions become fully known to me, they are at play in my work.”  – Jacqueline Bishop in conversation with Loretta Collins Klobah

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“I am a writer first and foremost, but I did a lot of side jobs and odd jobs while I was writing my novel,” Islam says. “I freelanced. I wrote copy for Uniqlo. I modeled for an Al Jazeera campaign. But as I was finishing my book, it struck me. I was like, ‘What am I going to do next? I can’t sit in an office all day. I just can’t.'” She found her answer in her final revisions of Bright Lines. For starters, the patriarch of the story is an apothecary. And as she delved deeper into his persona during the decade she spent at work on the novel, Islam fell hard for fragrance. Besides, she adds, “Brooklyn is such a place to launch a brand. I was really inspired by other beauty brands that had started here. I wanted to have a part in that movement.” And, finally, Islam points to a scene at the end of the novel in which a trio of girls throws wildflower seed bombs into different areas of Brooklyn. The women want the crops to “grow up and into something.” – from Elle.com interview with Tanwi Nandini Islam

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“Lightfoot:  Chapter Five was difficult to write, but it was also incredibly revealing. It shows that even within such a homogeneous population of working peoples there was an added set of constraints on black women. Specifically, constraints around what women’s roles were supposed to be and the dangers of masculinized black women. And, of course, there was never the sense that black women in post-emancipation Antigua should have the right to stay home and be dainty ladies. Whatever stock ideas about femininity that might have been applied in the middle of the nineteenth century to white women certainly didn’t apply to black women, ever.” – Dr. Natasha Lightfoot, a historian of Antiguan and Barbudan descent, interviewed by the African American Intellectual History Society on her book Troubling Freedom: Antigua and the Aftermath of British Emancipation

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“The assumption was very real. And then it was actually named, ‘does Solange know who is buying her records?’ So it became a totally different conversation than what I was first approached to be a part of and then it became a conversation yet again about ownership. And here I was feeling so free, feeling so independent, feeling like I had ownership finally over my art, my voice, but I was being challenged on that yet again by being told that this audience had ownership over me. And that was kind of the turning point and the transition for me writing the album that is now A Seat at the Table.” – Solange Knowles talking to Helga on Q2 Music

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INTERVIEWER
Do you have a reader in your mind when you write?
BALDWIN
No, you can’t have that.
-from James Baldwin, the Art of Fiction No. 78 in the Paris Review

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“Writing a novel is like pulling a saw out of your vagina. Writing a memoir is like pulling a saw out of your vagina while others are looking on.” – 5 Questions for… Emily Raboteau

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“It is a myth of my own invention. I am taken with the idea of creating new myths that speak to our current world in the same way that old mythology spoke to the world in its creators’ time.” – Lesley Nneka Arimah on Imagining a Universe of Handcrafted Babies  in her story Who Will Greet You at Home published in the New Yorker

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“My mother also tells me that for Celeste different children and their various broods would be assigned various colours in her quilt-making schemata which is all quite interesting to me, one set of children being red, one being yellow etc. What I think is lost to us is the stories that my great grandmother was telling in her funky multi-coloured quilts about her family, because no one knows who was assigned which colour. I also mourn the fact that when my great grandmother died my cousin Mary told me that she was wrapped in two of her biggest and best quilts and taken to the morgue in Port Antonio Bay and no doubt those quilts were simply discarded. This is why I so appreciate your interest in this subject and you doing this interview Veerle because we might all be discarding and getting rid of quite valuable things.” – Jacqueline Bishop

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“Is it lazy to look at the Caribbean as a unified whole rather than individual states?

I think it’s lazy to look at a country as a unified whole. But there are resonances and reasons why I think of myself as writing Caribbean literature more profoundly than Jamaican literature. The Caribbean isn’t a whole but there are aspects of unity and Jamaica isn’t a whole either, which is what this book is trying to say.” – Kei Miller

FICTION

‘But Theo never remembered that the pedal of the trashcan was broken. He would step on it without looking and drop the banana peel or the wet tuna-juicy baggie directly on top of the still-closed lid, and then walk away, leaving the garbage there for Heather to clean up, a habit that had finally caused her, just last night, to spit at him, in a voice that came straight from her spleen, “Pay attention, for Christ’s sake! Why don’t you ever, ever pay attention!”’ – Amy Hassinger’s Sympathetic Creatures

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“I don’t know what gods watch me, or how it came to be that my fate brought me to an island in the Caribbean sea. It was miraculous, not least because, in the novel I am currently writing, there is a shipwreck in that same sea. I would not know how to write it if I had not found myself in a Jamaican fishing boat one wet and windy day in June, contemplating the whims of the sea and the alligators up the river. But it is equally miraculous to find myself in a humble neighbourhood in my own country, face to face with women who quietly go about their lives, walking between worlds, singing up salvation by connecting us with our own roots.” – ‘On All Our Different Islands’ by Tina’s Makereti, Pacific regional winner for the 2016 Commonwealth Short Story Prize

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“It’s sick and it’s soulless but it’s one of the things I love about my job; here you can force the world to be something it’s not.” – audio reading of The November Story by Rebecca Makkai

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“The blue plumes of the peacock’s tail were shot through with filaments of silver and, twenty years on, the ink hadn’t faded. It sat on her long slim body like a birthmark.” – from Peacock by Sharon Millar

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“Now, listen to this next bit carefully: in the morning THE WHOLE KIPPS FAMILY have breakfast together and a conversation TOGETHER and then get into a car TOGETHER (are you taking notes?) — I know, I know — not easy to get your head around. I never met a family who wanted to spend so much time with each other.” – from Zadie Smith, On Beauty

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“No, Pa, it really could happen that way!” – A Conversation with My Father by Grace Paley as read by Ali Smith

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“I do not lie,” Crispín replied. “Adannaya is not only the most beautiful mulata of this hacienda and the best bomba dancer; she can also change brown sugar into white. Yes she can! And if I only had some brown sugar, I would prove it to you.” – from Adannaya’s Sugar, a fairytale by Carmen Milagros Torres

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“We were surprised to find ourselves thinking again, it had been so long.” – from We by Mary Grimm

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“Tantie Lucy had drunk from the cup of happy living and the shop was her world.” – Lance Dowrich’s In and Out the Dusty Window

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“It was a joyous occasion in a young woman’s life when her mother blessed life into her child. The two girls flushed and smiled with pleasure when another woman commended their handiwork (such tight, lovely stitches) and wished them well. Ogechi wished them death by drowning, though not out loud. The congratulating woman turned to her, eager to spread her admiration, but once she had looked Ogechi over, seen the threadbare dress, the empty lap, and the entirety of her unremarkable package, she just gave an embarrassed smile and studied her fingers. Ogechi stared at her for the rest of the ride, hoping to make her uncomfortable.” – Who will greet you at home by Lesley Nneka Arima

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“Some days I am alone, and I wonder whether I exist.” – Circus by Anushka Jasraj

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“The three of us, smelly and itchy, clinging to each other, waiting for the gasoline and vinegar in our hair to start the killing. We had lice. Our heads were wrapped in bright turbans made from my mother’s old hippie skirts. She was reading my left palm to see if I was going to pass my math test. With one hand, my sister was holding my nose, and with the other she was drawing skulls and bones on my brother’s arm with a red pen. With his left hand he was holding her foot, and with his right, the table. We were always prepared in case somebody tried to separate us by force.” – from A Bunch of Savages by Sofi Stambo

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“But what angered Zeke even more than the ancestors’ silence was the knowledge that he was helping Sonia to seduce a man who, sometime in the foreseeable future, would beat her for burning his dinner or create any other excuse he could think of to abandon her, as he done to all his other baby mothers after he had gotten what he wanted.” – Myal Man by Geoffrey Philp

CREATIVES ON CREATING

“I think, there’s a couple of songs.  I’m, I’m really proud of  “How far I’ll go.” I literally locked myself up in my childhood bedroom at my parents’ house, to write those lyrics. I wanted to get to my angstiest possible place. So I went Method on that. And really, because it’s a challenging song. It’s not ‘I hate it here, I want to be out there.’  It’s not, ‘there must be more than this provincial life.’  She loves her island, she loves her parents, she loves her people.  And there’s still this voice inside.  And I think finding that notion of listening to that little voice inside you, and, and that being who you are. Once I wrote that lyric… It then had huge story repercussions. The screenwriters took that ball and ran with it.” – Lin Manuel Miranda on writing songs for the animated film Moana

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“…it comes down to cause and effect, but and therefore.” – Janice Hardy on plotting

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‘So much as it is possible in a manuscript, every scene should be followed by another scene that dramatizes either a “Therefore” or a “But,” not an “And Then.” So if, in one scene, a girl has intimate eye contact with a beautiful male vampire, the next scene should either dramatize the consequences of that eye contact, which will likely raise the stakes or escalate the emotion—THEREFORE she kisses him; or introduce a complication/obstacle—BUT she remembers she hates vampires, so she drives a stake through his heart. If they continue to stare into each other’s eyes, or maybe they just get some tea, that’s an AND THEN—nothing new is happening, because it’s at the same level of emotion as the previous action, and so while movement is occurring in the plot, it isn’t necessarily dramatic action. And action is ultimately what keeps readers reading:  change, challenge, consequence, growth, for a character in whom they’re invested.’ – Trey Parker and Matt Stone

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“Now this: mistakes are everything. Write, abandon, start again. But understand you will do this on your own, over and over.” –  Ellene Glenn Moore

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“At one point, I got the idea to ‘set a clock’ in the Antarctica thread. Instead of making her time there quasi-borderless, I would limit her stay at the station to four or five days. This simple question about literal time led me to a host of new questions and discoveries: Instead of a scientist, she was now a civilian, which would account for why she, as a kind of interloper, would have limited access. From there, I wondered: what would a civilian want with an Antarctic research station? What is she in Antarctica to do? What will happen if she fails? Eventually I located the timeline that unfolds in the past, and explores the nature of the estrangement and how a secret shared between the narrator and her sister-in-law brought about an irrevocable fracturing. In this version, the past informed the way the narrator experienced the present; it helped the present to matter.” – from Inventing Time by Laura van den Berg

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“3.Every character should want something, even if it is only a glass of water.” –Kurt Vonnegut’s rules of writing

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“different works have different ambitions and, therefore, require different approaches” – Zehra Nabi

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“I abandoned short stories and wrote a novel.  Maybe short stories weren’t my thing.  In a book, I had more elbow room.” – The Big Rush, or What I Learned from Sending a Story Out Too Soon by Julie Wu

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“You have to do the work; you have to do your research. There are no short cuts.” – Justina Ireland in discussion on Writing the Other

POETRY

“Here’s to the fools who dream
Crazy as they may seem
Here’s to the hearts that break
Here’s to the mess we make” (from La-La Land. Lyrics by Benj Pasek and Justin Paul)

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“That is how life is.

When you are placed in hot oil

be patient

keep going

you will be ready soon.” – Browning Meat by M. A. Brown in Moko: Caribbean Arts and Letters

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“My father
would not have imagined

seeing me here,
hearing of me fleeing a war.” – Althea Romeo-Mark’s A Kind of Refugee

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“Maybe it is best
not to know.
Maybe it is
Inevitable.” – I am Unsure by Ashley Harris

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“That’s one thing nobody tells you. Sometimes it’s okay to give up.” – Boys Don’t Cry

“give yourself a chance Andre
be open
love someone
do not fret, fete” – A Prayer to Andre

“When the nurse takes
blood you won’t have to be afraid
of her knowing you are afraid.
And then maybe you could tackle your
your fear of white cars next.” – Incurable Fears
from Poems by Andre Bagoo in Moko: Caribbean Arts and Letters

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“as I walk

people

stare and pass by

on the far side” – Madness Disguises Sanity by Opal Palmer Adisa

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“The mirrors of their eyes only blind me.” – from Ivy Alvarez’s What Ingrid Bergman Wanted

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“He is a writer a sensitive man
a thundering terrible intelligence” – from Pamela Mordecai’s Great Writers and Toads

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“The new therapist specializes in trauma counseling. You have only ever spoken on the phone. Her house has a side gate that leads to a back entrance she uses for patients. You walk down a path bordered on both sides with deer grass and rosemary to the gate, which turns out to be locked.

At the front door the bell is a small round disc that you press firmly. When the door finally opens, the woman standing there yells, at the top of her lungs, Get away from my house. What are you doing in my yard?” – Claudia Rankine reading excerpts from her book Citizen 

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“Another glittering day without you; take my hand
and bring me to wherever we were: the empty house
in Petit Valley or the city of Lapeyrouse
where headstones multiply like sails on a Sunday,
where a widower tacks under a pink parasol,
where people think that pain or pan is good for the soul.” – excerpt from Derek Walcott’s Lapeyrouse Umbrella published in Morning, Paramin

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“I asked her if I could wear nail polish
or not wear nail polish
and she said honey
she calls me that sometimes
she said you can do just exactly
what you want to” – from God says Yes to Me by Kaylin Haught

VISUAL ART

Cloudrise from Denver Jackson on Vimeo which I discovered through the Wardens Walk blog  which I discovered through the Pages Unbound blog

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team-painting-by-rachel-bento-commissioned-by-gov-gen

Painting by Antiguan artist Rachel Bento, on commission from the Governor General of Antigua and Barbuda, of Team Wadadli, which took the Talisker Whisky Challenge (2015-2016) rowing approximately 3000 nautical miles across the Atlantic – from the Canary Islands to Antigua – in 52 days. They set two world records – oldest team and oldest rower – in the process. Bento’s commission commemorates their historic achievement. See more of Bento’s work here.

MISC.

Speculative fans, I thought you might find this bibliography interesting. It’s a Bibliography of Caribbean Science Fiction and Fantasy.

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‘I have not yet had a student turn me down.  Some of the ARCs came back after a few days with a negative review, but most of the time the readers would seek me out before school in the morning to tell me they had finished the book and thought it was, “GREAT!”  The readers who brought back the “GREAT” ARCs often brought a friend with them who wanted to be the second person in the building to read the book.  And before my eyes, dormant readers woke up!’ – teacher, librarian Mary Jo Staal on the Power of the Arc in stoking her students’ interest in reading

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Reading Room XV

This page is for sharing links to things of interest around the internet. It’ll be sporadically updated; so, come back from time to time. For the previous reading rooms, use the search feature to the right, to the right.

FICTION

“So, Damian spent his time climbing trees in our backyard, acting like those TV monkeys. He mimicked them: jumping on me like those babies did their mommies. It’s cute when they do it. But when he did it . . . well, things broke. My arm, leg, and, once, he yanked so hard on me I herniated a spinal disc.” – Read Mindy Halleck’s full story.

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‘“Did you pack a snack and a sweater?”

Charlisa pointed to her backpack. “They’re in my satchel,” she said, waiting to see if Sister Rita would notice she’d learned the word.’ –
Read the full award winning story by Brenda Scott Royce here.

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I’m putting this in the fiction category though Moko’s Firing the Canon includes visual arts and poetry as well, because I mostly talk about the fiction here (you can and should read the whole issue though).

VISUAL

A new website, http://www.barrelstories.org launched in January following the successful Commonwealth Shorts’ film by Lisa Harewood, Auntie. Lisa’s idea is for the site to encourage conversations about the effects, both positive and negative, of migrants leaving their children behind in the care of others. It’s a place where we can listen to personal accounts of parents, children and carers.  You can also contribute your own story; to do so, email to submit@barrelstories.org

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“A definite powerful conversation piece, the mural sends a strong message to our society and demonstrates what can be accomplished when youths are empowered and encouraged to affect change.” Read more about this mural, created by youths of Antigua and Barbuda.

WRITERS ON WRITING

“Although you the writer are indeed doing the writing, your narrator is the one telling the story. And that narrator is not you. Sure, your narrator could be a slightly more neurotic or jealous version of you, or someone very different from you, or somewhere in between, but he or she is not you. Yep, even when you’re using first person.” – Janelle Drumwright

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“While too much detail and description can bog down the pace of a story, the reader still needs adequate description to frame the story.” – Zetta Brown, introducing How to Create a Fictional Setting by Michelle Gwynn Jones.

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“Very often your dialogue can become stilted unless you are a good listener, and if you listen you’ll discover that people interrupt each other.” – Maeve Binchy – Secrets from the Writing Club

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“Making people believe the unbelievable is no trick; it’s work. … Belief and reader absorption come in the details: An overturned tricycle in the gutter of an abandoned neighborhood can stand for everything. Or a broken billboard. Or weeds growing in the cracks of a library’s steps. Of course, none of this means a lot without characters the reader cares about (and sometimes characters—‘bad guys’—the reader is rooting against).” – Stephen King, read more at Writer’s Digest.

BLOG

From Antigua to London to the US to the Bahamas…Linisa George’s Brown Girl in a Ring is indeed well-travelled. In this post, a Bahamian actress reflects on performing it in the country’s annual Shakespeare Festival. Check out what she had to say about the experience in this posting – You are what you do, not what you say you’ll do on her blog The Little Lady’s Diary.

AUTHORS ON PUBLISHING

“Most writers I know continue to work on their submissions for years, even after acceptance, feeling they can always improve. So don’t get egotistical about what you want to stubbornly believe is your final draft. Accept that most writing is never final, even amongst the best.” Read more of Ralph Monday’s article : The More Lines Cast Into the Water, the More Fish That Will Bite (and Other Tips on Submitting to Lit Mags)

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“Never give up” plus *bonus* Supernatural gifs. Read more on self-publishing after publishing by Jennifer Armentrout here.

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“Instead of sending the manuscript out to other potential markets, I waited…and waited…and waited for a response from Arabesque. I eventually got despondent and put the whole publishing idea on indefinite hold. (Pro tip: DO NOT DO THAT!)” – Liane Spicer at Novel Spaces

VIDEO

“Books have an extraordinary power to take you out of yourself and into someone else’s mindset, so that for a while at least you look at the world through different eyes.” – Ann Morgan talking about her journey Reading the World. (click on the image for the vid)Ann MorganFor For my thoughts on the book that her journey birthed, check Blogger on Books ll

POETRY

“And somewhere inside him, he wanted/ to be here for all of it: all the repeating shapes and pegs/ of that life-long game where the more things changed,/ was the more they stayed the same.” – Vladimir Lucein’s Overseer: Detention

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“It’s not your fault, no
I blame those boats
I blame the coast
Hell, I blame the tide
I blame the sea for not picking a side
I blame the slave traders and sellout chiefs alike
But it seems like you blame me
For being born in a former British colony
I sound white?
As opposed to what?
Sounding American?” – slam poet Maya Wegerif, Why You talk so White?

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This one started showing up in my social media timeline after the November 2015 Paris attacks. I decided to look it up and share it. It’s by Somali-British poet Warsan Shire:
later that night
i held an atlas in my lap
ran my fingers across the whole world
and whispered
where does it hurt?

Read all of What they did Yesterday Afternoon

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by David Crawley.jpg

by David Crawley

INTERVIEWS

w/David Baldacci:

‘A former lawyer, Baldacci still attacks his writing career as if preparing for a high-stakes defense. His typical day currently involves a few hours of work on his second Decker thriller, another few hours drafting Book 3 of Vega Jane, and another few hours on a screenplay. “During the course of the day I might work on three or four different projects, but only when I run out of gas on one do I move on to another,” Baldacci says. “I write until my tank is empty each day. I don’t count words or pages or whatever—that seems like an artificial goal for me.”’

w/Claudia Rankine:

‘“Because white men can’t/ police their imagination/ black men are dying.” What was in your mind when you wrote that line?

When white men are shooting black people, some of it is malice and some an out-of-control image of blackness in their minds. Darren Wilson told the jury that he shot Michael Brown because he looked “like a demon”. And I don’t disbelieve it. Blackness in the white imagination has nothing to do with black people.’

w/Brenda Scott Royce:

“When I struggle to think of ‘what’s next’ in a story, I draw a blank. But then I’ll be listening to NPR or shopping for groceries or having a random conversation with a stranger, and something sparks an idea. Meeting someone with an unusual occupation always makes me wonder, could one of my characters do that for a living?”

w/Marlon James:

“At some point you have to accept writing bad on the way to getting good. That you can write one hundred pages and only use twenty. I’m at the stage where that is no problem for me. I’m a very sloppy writer and I don’t rewrite, I don’t reread, until I’m done. I write everything straight to the end.”

Pamela Taivassalo Wikholm travelled from Sweden to Antigua in 2015 and interviewed a handful of local artistes – Joanne C. Hillhouse (writer), Tian Winter (singer), Mark Brown (painter); see interview links for all three below.

w/Tian Winter (Popreel TV):

“If it’s singing, just sing; someone will hear you, something will happen.”

w/Joanne C. Hillhouse (on Popreel radio):

“The writers from here that I knew and I have great respect for them were the calypso writers people like Shelly Tobitt and Marcus Christopher because when I was coming up calypso was the literature that I would hear that had some relevance to my community,, the other literature that we read was mostly from America or from Britain.”

Joanne

w/Joanne C. Hillhouse:

“The characters come to me. They don’t always reveal their stories fully, so for me writing is a journey of discovery. Like I can’t always see where it’s going but I’m kind of wandering my way through it and trying to figure out what is it all about.” – Antiguan and Barbudan writer Joanne C. Hillhouse on Sweden’s Popreel TV.

w/Tian Winter:

“If you have a dream, don’t let anybody, no one, not your mother, not your brother, no one, kill that vibe, kill that dream out of you, don’t let them out that fire.” – Antiguan and Barbudan soca artist Tian Winter on Sweden’s Popreel radio.

w/Mark Brown (on Popreel radio):

“I need to paint things that people are not saying enough, and people find hard to say, and hrd to encounter, and hard to read, and hard to speak about.”

Untitled

w/Mark Brown:

“At that time I didn’t know what it was called but I knew that I lived in a very imaginary world.” – Antiguan and Barbudan artist, Mark Brown’s interview on the Popreel TV programme on Swedish TV.

 

w/Eric Jerome Dickey :

“I walked from the undergraduate degree in Computer Systems Tech, but I carried the knowledge with me. Every class I had taken at the University of Memphis to complete those requirements; from English, to Physics, to Sociology, to Latin, to Electronics, to kicking it in karate class with Bill Wallace, it all went with me.”

w/Nalo Hopkinson:

“The Caribbean region. Writers from there are producing wonderful literature that takes language, story and form and bends them into creations you would never have believed possible.”

w/Carol Ottley-Mitchell:

“CaribbeanReads is a small publishing company dedicated to serving talented Caribbean authors. Our aim is to make publishing more accessible to potential Caribbean authors and to increase the number of high-quality books about and for the Caribbean.”

w/Ision Hutchinson, Tanya Shirley, and Christian Campbell:

“I know there are some people who are just born with exceptional talent, but for the rest of us, I recommend workshops with reputable poets, constant revision of the work, an openness to criticism and an insatiable desire to read poetry.” (Tanya Shirley in S/X Salon interview)

NON FICTION

“The self-governance of trees is mysterious and moving, though not always elegant.” – read all of Summer Edwards’ descriptive and reflective Fairmont Trees

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“When someone dies their silence becomes a sort of held note, a key on the piano pressed down for so long it becomes an ache in the ear, a new sonic register from which we start to measure our new, ruptured lives. A white noise. Maybe this is why there is so much music in dying: the funerals, the singing, the hymns, the eulogies. All those sounds crowding the air with what the dead can’t say.” – Read all of Ocean Vuong’s The Weight of Our Living: On Hope, Fire Escapes, and Visible Desperation

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“…getting a whooping from her was like getting a beating with fresh plucked feathers. I cried mostly because I didn’t want to hurt her feelings…” – Yvonne McBride, The Ballad of Broad Street

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