'You're a Woman, Ain't you? Well, this is a kitchen.' Why Tara Westover's 'Educated' Will Remain a Must-Read for a Very Long Time
Ellen DeGeneres read it because Michelle Obama told her to. Bill Gates said it’s even better than you’ve heard. Barack Obama put it on his best books list. So did Amazon. Time Magazine named its 32-year-old author to its Top 100 list. I read it for all these reasons and because a retired high school headmaster, one of my best friends, encouraged me to.
You might not think a book about going to school would read like a page-turning thriller. But Tara Westover’s Educated does just that. It is without question one of the most extraordinary books I’ve ever read.
Even if you have to wait twenty weeks to get it from your local public library (as I did)—here’s why you should read it. Westover’s story is not just about getting a highfalutin degree. It’s about her multi-leveled struggle to become herself against insufferable odds. This is what Jungians call individuation. It’s what Dr. Wayne Dyer referred to as “leaving the tribe.” You think that’s easy? Try it.
But Westover’s memoir is more than that. Raised by survivalist parents on an Idaho mountain, her obstacles include the people she loves—her family. They involve received ideas about God and religion—the Mormon fundamentalism she was brought up with. She must climb over a wall that includes unquestioned loyalty to male power figures. You’re a woman, ain’t you? Well, this is a kitchen.
Why the 60th Anniversary of Lorraine Hansberry's 'A Raisin in the Sun' Resonates for Me in a Personal Way
Today marks the 60th anniversary of the Broadway premiere of Lorraine Hansberry's "A Raisin in the Sun." A major American classic by any standard, it is also the first Broadway-produced play by an African-American woman. It's a milestone that remains as relevant on March 11, 2019 as it was in 1959.
Several years ago, a Seattle newspaper asked me to review a staging at Seattle Rep, one of the finest regional theaters in the country. A lifelong theater buff, I was thrilled when the editor promised free tickets and a stipend in exchange for my opinion.
Whenever anyone remounts a beloved classic of film or stage, you hope they won't ruin it. So it was with a mixture of anticipation and dread that I made my way to Seattle Center for the opening. But I needn't have worried. As you might expect from a Tony-winning outfit like Seattle Rep, the production was excellent. Although I hadn't seen the play for quite a while, its impact remained undeniable. The play resonates for anyone with a human heart, but it's especially meaningful to African Americans because it takes a hard look at a family divided by conflicting dreams and the internal and external pressures that challenge and shape the black experience to this very day.
But Hansberry's play also has a special place in my personal memory because my brother, Kurt Hill, performed the role of Walter Lee Younger (the Sidney Poitier character) when my alma mater, Drexel Catholic High School, produced the play during the heyday of the Civil Rights Movement, about a year before the Voting Rights Act became law.
Prop Goes the Weasel: Did the Racial Sideshow at the Cohen Hearings Demonstrate that America's Deepest Wound Will Never Heal?
The vehement exchange between two members of Congress during Michael Cohen’s testimony on February 27 was more than a failure to communicate. The argument itself was not only a distraction from the main event, it struck at the core of America's oldest wound.
In case you missed it, a white congressman (Mark Meadows) trotted out a black female employee of the Trump administration (Lynne Patton) as proof that the president is not racist. A freshman congresswoman (Rashida Tlaib), who is Muslim, responded by referring to Ms. Patton as a prop, claiming that Meadows' tactic was itself racist. This led to a spirited digression, which achieved what sideshows always do--divert attention from the main purpose of the hearings.
Although the president's former attorney and "fixer" called Donald Trump a racist during his opening statement, the main reason for the hearing was not to debate the president’s racism. It was to determine if he had broken the law.
Why I Will Not Miss Paul Holdengräber When He Bids Farewell to the New York Public Library - And You Shouldn't Either
Paul Holdengräber is not the Lone Ranger. He cannot take all the credit for the exhilarating cultural exchange knowns as Live from the NYPL, though he is its creator and director. It takes more than a few Tontos to keep a series of public conversations and performances like that running strong in the Big Apple for 14 years. It also takes the willing cooperation of the leading cultural lights of the day, most of whom Holdengräber has engaged in lively, stimulating conversations that take the art of the interview to a whole new level.
But in case you haven’t heard, Paul Holdengräber is leaving his beloved lair between the roaring lions of the Fifth Avenue public library. At the end of December, he will ride into the sunset toward a new home and a new job in Los Angeles. Do not look for a silver bullet. There won’t be one.
“Of course they’re guilty. How is it possible for men to cross women time and time again and go unpunished? If men were held accountable they’d hang hour after hour, every day of the year.”
This crucial line from the new adaptation of Wilkie Collins' A Woman in White comes during the first 60 seconds of a visually striking five-part series on PBS. But something about it seems all wrong. Not because it lacks truth but because it does Collins' novel an injustice.
Part of the fun of the story--one of the first and finest mysteries ever written--is deciding for yourself who did what to whom and whether they're guilty or not.
This 2018 adaptation seems to tip the hand in favor of certainty from the get-go. Its avenging-victim theme is so pronounced, I wondered if screenwriter Fiona Seres was more interested in making a case for #MeToo than in remaining true to the taut thread of suspense that makes the book such a thrilling ride
Clueless Megyn Kelly's Blackface Issue Distracts from Voter Suppression as Agatha Christie Movie Shuns Its Racist Past
UPDATED 10/25/2018: Although I originally imagined that NBC might be happy about the publicity Megyn Kelly's blackface comments generated, published reports in Variety now indicate the opposite. Kelly has reportedly lawyered up for what appears to be aggressive negotiations with the Peacock network. By Thursday evening, most major news outlets (Fox, NPR, CNN, et al) were reporting that she would not be returning to the Today Show. And only a slim chance remained that she would remain at the network in any capacity at all.
But I'm not backing away from the rest of my post. The Today Show executives had to know what she was when they hired her away from Fox. Jesus was white. Santa Claus is white. So of course blackface must be okay, right?
If we’ve learned anything from the 2016 presidential election, any publicity is good publicity. In this case, it may not be great for NBC, but it won't be bad for Kelly, even if she and NBC sever all ties. With enough free PR, you can laugh your way to the bank—or even to the White House.
“Oh my God, I think I might have bought drugs from this guy back in high school."
“But you just told the court you don’t know him,” a woman sitting next to me says.
“I didn’t remember it at the time. But yeah, I used to sell drugs when I was in high school. My boyfriend and I used to go to that very apartment building to get ours, and I’m thinking, yeah, I’ve probably bought from this guy before. He does look kind of familiar.”
We are on a jury panel. Going through the process known as “voir dire.” The guy she’s talking about is the defendant in a drug-trafficking case. Cocaine and marijuana. Five or six other charges too, all drug related. Did the judge also mention something about carrying a weapon? I think so.
It should probably not matter that it’s a young white woman privately confessing to those around her that she bought and sold drugs back in high school, which by the look of her could only have been three or four years ago. But in this instance her race matters a great deal.
Fans of Penny Mickelbury’s detective fiction will not be disappointed in her latest novel. Death’s Echoes marks the return of two favorite characters from her early work, Police Lt. Gianna Maglione and investigative reporter, Mimi Patterson, who is her professional confidante and lover.
I like big books, and I cannot lie. My background includes talk radio, newspapers and TV news. I've hosted a morning-drive classical music program on the California coast and published nationally in Reader's Digest, the Christian Science Monitor, and Playboy. I've won awards for my journalism and my fiction. One of my essays even made it into an anthology for college English courses. For real? Yes, for real.
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