NE OHIO LIBRARIES FOR WRITERS: Part 3

EAST CLEVELAND PUBLIC LIBRARY:

The Greg L Reese Performing Arts Center and More

 

My original plan for this post was to focus on the value of the Greg L Reese Performing Arts Center as a space for writers, and I will be getting around to that. But my plan expanded as I talked to Librarian Sheba Marcus-Bey. My plans always expand whenever I talk to Sheba who is, as I have often said, a force to be reckoned with in the very best sense of the word.

 

Happy 100th birthday, ECPL!

When we began our conversation on the Reese, she took me back first to the building itself, which is celebrating its "100 Years of Service." Marcus-Bey told me that the library opened in May 1916, having been built with one of those great Carnegie Library grants for $35,000 on land donated by John D. Rockefeller from his summer estate. That's right. Rockefeller summered in East Cleveland. "This was Forest City," she reminded me. "We are right on a watershed."

Greg Reese Performing Arts Center

Sixteen years ago, the library renovated and added a learning center and the performing arts center. The latter was the dream of the library's director Greg Reese, who was a big supporter of jazz with a  dream to have a stage on which to present live music. Architect Robert Fleishman took special care with the room's acoustical design and with the sound system to create a 240-seat space that shared an  intimacy between the stage and its audience.

That feel of intimacy, combined with the size, also makes the space a perfect venue for large reading events. In October of 2014, a group of writers (including me) held a celebration of the life and work of Russell Atkins there, which I wrote about here. What I did not write about at the time is what a privilege it was to have this space to perform in. The audience seating is very comfortable, with clear lines of vision everywhere. The lighting, sound, and other effects are exceptional. For our event, there was both a video to show and a recording of a piano sonata by Atkins to play, and the visuals and sound for both were excellent, as were the microphones for all the poets and presenters.

If that doesn't seem like a big deal to you, perhaps you have not sat through as many large poetry readings as I have where the sound solution was for poets to shout and then not be understood, or to not shout and not be heard. I keep raising the issue of sound for writing events. Sound can be a real difficult or technical issue for writers themselves to deal with, and it often doesn't get addressed until it is too late. Good sound has become a fact of performance in all the arts today. Even my high school now mics all the leads in the annual musical, and while I don't feel writers have to be mic'ed like rock stars with that snazzy wire across their mouth, I do think that getting the gist of a piece of writing is not enough for listeners. The sound of each word is crucial. Writers spend too long working on each word to throw them to the wind in readings.

The Greg L Reese space is free for programs relating to East Cleveland, and with a fee for outside groups. Writing groups looking for a large but intimate venue should really consider checking into this center.

Sheba Marcus-Bey, Director

More

There may be more opportunities for writers at the East Cleveland Public Library in the coming  year as Marcus-Bey is working to do more with the Ohio Arts Council and Cleveland Public Library to promote literacy  through The Literary Cleveland. She hopes to interface with aspiring authors, using the talents of local writers. The library's monthly creative writing workshop is off right now, but she plans to have it back up and running by November.

While not specifically for writers, I want to briefly mention the library's Ichabod Flewellen Collection. Clevelander Ichabod Flewellen began a collection of Afro-American Culture and History in his home, and in 1996, donated the collection to the East Cleveland Library. The collection currently includes West African Art which is on loan, as well  as Civil War memorabilia, which documents the rise of Jim Crow, and many other effects of the Afro-American esperience. So while the collection is not specifically for writers, I highly recommend a visit there for any writer looking for a new topic, a unique piece of research, a jolt to your creative process so to speak.

All libraries of course do all that for writers, but this one, like the other four I am featuring, have even more for writers than most. "I have always imagined that Paradise will be a kind of library," Jane Austen once wrote. Here in Northeast Ohio, these libraries are our paradise.  

NE OH LIBRARIES FOR WRITERS, Part 2

CLEVELAND PUBLIC LIBRARY:

The Literature Collection: 

Contemporary Poetry & Ohio Center for the Book

Decades ago, when I was an even more penniless poet than I am now, a dollarless poet, John Stickney clued me in to the contemporary poetry collection at The Cleveland Public Library. "They have everybody," he said. And so they did. It filled me with amazement, and if it doesn't fill you with amazement, then you haven't tried to find contemporary poetry in most libraries today. It simply isn't on the agenda of many libraries. What is on the agenda these days is Maker Studios with 3-D copiers and Recording studios and E-Books and Digital Books and Hoopla video-- most of which I love and have used at my local libraries.

However books... they are not considered quite such hot commodities. And contemporary poetry books? "No one wants them. No one checks them out. We

have to throw out many books of poetry because we don't have room to store what no one wants,"  librarians tell me. No, no, no. For all these no's, there is one Northeast Ohio public library which has said yes to contemporary poetry, Cleveland Public Library. This collection is an incredible benefit to Northeast Ohio writers.

First, those of you writers who have published a book of poetry, if you haven't already, you might want to look your name up in the catalogues of any number of libraries. Your chances of being collected (and kept) by the Cleveland Public Library are better than anywhere else unless you have guilted your local librarian into ordering it. (And even then, how long will it be kept?) I about fell over when I put my name in and found they had my 1986 book of Nicaraguan translations "And a Pencil to Writer Your Name," with photos by Cleveland photographer Steve Cagan, in addtion to my latest book, The Places We Find Ourselves.  (You may note the cover is a Steve Cagan photo too. I love his stuff.)

Amy Dawson, Lit Dept. Librarian
Next, look up your friends who are poets, the famous in the neighborhood, as Daniel Thompson used to say, and the famed beyond. Look up Nobel prize poets and Pulitzer Prize poets and the Cleveland Heights Poets Laureates and Cleveland anthologies. It's amazing how few are at other libraries, how  many are at the CPL. So the CPL Contemporary Poetry
section is a terrific resource, for finding poets to read-- other than yourself. The past two years, I have gone to the reading room for a day to read up on local poets whose names had been mentioned to me. It is where I found the work of Cleveland poets Miles Budimir, Terry Provost, Lady Smith. and Jack McGuane, who had only been names to me before. It was where I found books by Bruce Wiegl, Mary Biddinger, Caryl Pagel, and Phil Brady. I sat and read for hours and checked books out. Along the way, I received wonderful assistance from all the librarians and pages in the area, including the department head, Amy Dawson. A few of the anthologies were ferreted off in special places that had to be fetched by a librarian, and they were worth asking for.  

One fact the staff helped me realize is that many times, the copy of the book, or a second copy of a book was in their section related to "Ohio Center for the Book," which is Ohio's affiliate of the national "Center for the Book" in the Library of Congress. According to its website, "Starting in 1984, the Center for the Book in the Library began to establish affiliate centers in the 50 states. Today, there is a State Center for the Book in all 50 states, as well as the District of Columbia and the U.S. Virgin Islands. These Center for the Book affiliates carry out the national Center's mission in their local areas, sponsor programs that highlight their area's literary heritage and call attention to the importance of books, reading, literacy and libraries."

In addition to the many books shelved in the he CPL's "Ohio Center for the Book" section, the Center also has a very active presence on Facebook which you might check out, if you are on that site. It lists events coming up, including "Literary Friday Frolics" and graphic novels on Shakespeare. And in August, for a second year, the library is hosting the free, one-day writers unconference known as the Cleveland INKubator, a day jam-packed with lectures and workshops for FREE. FREE. With wonderful presenters. Look it up and register here.

So for you prose writers and dramatists who have felt left out so far in this post, I say yes. Yes, the CPL has a lotta your stuff too in hard copy, too. So for all of us contemporary readers and writers who despite our e-readers and MP3s loaded with audiobooks and our online links, still love and read and check out...hardbound texts, we say:

            WE


Cleveland Public Library!

 


NE OH LIBRARIES FOR WRITERS, Part 1

THE SKIRBALL WRITERS CENTER

at the Cuyahoga County Public Library
Welcome to the CCPL Writers Center

What do writers want? A room of their own? A room with some writer friends? Books? Magazines? Readers! Listeners! An expert on hand to narrow the choices on google? Speaking of google, how about an internet presence for their work and for inspiration? All, all of this has been created for writers at the newest building in the CCPL system, the South Euclid-Lyndhurst Branch, home of the Skirball Writers Center.

Inside these doors are several rooms for writers, beginning with a big open lounge space, filled with comfortable couches and chairs fitted with wooden tops for coffee cups or notepads or IPads. (Back in back is a cranny that could serve as a room of one's own, with light streaming in from the windows.) To the right are two walls of periodicals and reference books on writing, in general and on genre, for marketing and for ideas.



Lounge space (See cranny way in back)
Periodicals & Books on Writing










Laurie Kincer
To the left is a Librarian, and most days, that is the Center's Co-ordinator Laurie Kincer, a writer's Dream Librarian. She writes, she knows Cleveland, she knows writers. And she has as much knowledge about writing as most writers I know, and infinitely more patience, by the sounds of a recent reference call I heard her take. She oversees this space and much of the activity related to it in real time and virtually.

The rest of the space includes a reading/lecture room that can be divided into three spaces for small group meetings or opened up to seat 200  people. And a kitchen, where coffee and tea are usually at hand.

If I learned one thing from my college History of Architecture class (other than I have no visual sense whatsoever), it was to pay attention to how space is created and used, and in my four visits to this center, I found such a great feeling of both solitude to work (an afternoon perusing the books and periodicals) and socializing with writers and their readers. The homecoming reading on April 2nd for Cleveland's Amit Majmudar, the new Poet Laureate of Ohio, was a fest of family, friendship, and fans, such a warm afternoon. If you'd like to know more about the variety of readings, workshops, and other events for writers that go on here, go to the CCPL Events Page, click down to "South Euclid-Lyndhurst" and you'll get the many things happening. I counted about 20 for the month of June, including the monthly poetry workshop founded by Cy Dostal in 1974, which moved here when the former Poets and Writers League of Greater Cleveland shut down. Now led by Robert E. McDonough, one of the original members, this workshop is, as far as I have been able to ascertain by research, one of the two oldest public poetry workshops in the U.S., along with the U.S. 1 Workshop in New Jersey, which began the very same month in 1974. Beginning with the group's 40th anniversary in 2014, current members have been holding a fall reading, from which the library has produced broadsides and three online anthologies.
Broadside, "Six for Cy" in memory of Dostal



As libraries go, the William Skirball Writers Center has the best multi-purpose space for writers in  Northeast Ohio, in my book, and one of the tops for writer events, which also include the "William Skirball Writers Series," which the CCPL Foundation sponsors in other spaces, along with Case Western Reserve University. In the past, they have hosted Rita Dove and Robert Pinsky (among many others) at Playhouse Square, and next year's lineup of writers, which you can find here will be at the Maltz Performing Arts Center.

In addition, there is much going on virtually for writers at the William Skirball Center, as a click on its home address demonstrates:
http://www.cuyahogalibrary.org/Services/William-N-Skirball-Writers-Center.aspx

The library has held hugely-attended workshops on e-publishing, which offers writers the possiblity of publishing their e-book on Ohio's SELF-e shelf and another online page, Stories Connect US has writing by children and adults, organized around an outdoor mural for a visit from Kate DiMillo.

And finally, near and dear to my heart is the library's "Read + Write 30 Days of Poetry," a daily blog for National Poetry Month each April for the past three years. (Full disclosure: I curate the blog for the library.) Each day, it features a poetry-writing prompt and a poem by a local poet, which includes the poet's bio and links to the poet's social media outlets-- websites, blogs, and tweets. It includes a comments section, too. The first year, over 800 readers signed up to receive a daily email with the blog; the second year, 1200; and this year, over 2200 readers signed on, and as nearly as we can tell, most of them read, wrote, and/or responded. This is a larger readership than most poetry magazines reach. And the library has kept all the pages up, creating three beautiful online anthologies of this experience.

I have often said that one could not continue such a project for three years running and have so many poets to choose from as we have in Northeast Ohio. (And our list of names is overflowing for next year.) But Northeast Ohio is a pretty amazing area for producing writers, especially poets-- and readers, presses, workshops, and programs, historically and currently.

And currently, we are fortunate to have many institutions that have helped us. Despite my lengthy catalogue here of the many resources for writers at the CCPL Skirball Writers Center, I haven't covered them all. I hope in the comments section, you will mention your favorite events, resources, and moments in its rooms and on its internet feed that I have missed.

Meanwhile, I move on to four other Northeast Ohio Libraries who offer exceptional service to local writers. 

Fooling Around in National Poetry Month

The first four days have been great at the CCPL "Read + Write: 30 Days of Poetry." So far, there have been four new poems, four prompts. Also, there was a kick-off, kick-ass reading by Ohio's first Poet Laureate, Amit Majmudar, his first reading back in his hometown of Cleveland, Ohio--With parents, children, former high school and grade school teachers, poets, readers, and others in the audience. And people are posting comments on the "Read+Write" site from as far away as Brazil and Boston. And people are writing poems. 

A lot are writing poems to the Day Two prompt, one that a CCPL 2014 poet, Laura Weldon, posted on her website. It's called a is a "SPINE POEM." This year's poets Lori Kusterbeck and Steve Brightman have posted them on Twitter and Facebook. You'll find how to create one at Day Two. Here is my first attempt, what I stacked up at 5 a.m. today. I'll see if it needs revising by tomorrow:


FOR the KIDS WHO WANT TO CREATE, NOT COMPETE

When my family played Scrabble, we all looked at each player's letters to help one another spell the best word possible. My dad was into vocabulary, not winning. When my friends who play this game for blood or glory hear that one, they just roll their eyes. My dad and mom were all about co-operation, not competition. And so are their grown children.We have tended to eschew sports for that reason. Most of us are fairly active in running, walking, and dancing, but golf? basket/base/foot/ball? points? scoring? trophies? Puh-leez. We tended to spend our time in the arts and in social, religious, and other organizations.

I don't think we are all that afraid of losing. But competition seems aside of the joy of activity to us. Three of the four of my parents' children have had careers in the arts. The fourth is in law, which my mother always said was just another form of performance. 

So I have not been happy with what I perceive as extracurricular arts in Ohio lately, especially in my chosen field of creative writing. As nearly as I can tell, most of the creative writing activities for school kids revolve around contests. My library has a yearly poetry contest. The Ohio Poetry Association has a yearly poetry contest. The Ohio Arts Council, which once sponsored writers in the schools to the tune of 20 or more residencies a year, now sponsors "Poetry Out Loud," a performance competition. I have found a few free high school writing workshops (yeah, Shelly Rayborn at the  Canal Fulton Library!) and a few paid ones (good but onerous guidelines for scholarships). But by and large, it is just one contest after another, if you are a young person who wants to write.

I agreed to sponsor one contest for the Ohio Poetry Association this year because I was moved by hearing last year's winner read. But now that I wonder about the many losers, I have reservations about it. So when I was asked recently to lead workshops in Poetry Out Loud, I turned it down, writing,

I can't thank [your organization] enough for this offer. Working with kids and poetry and working with your organization are two of my favorite workings. And I am familiar with Poetry Out Loud. I have found some poems I never knew in their yearly list of poems, and I love the memorization and recitation of poetry, which was a part of all my college creative writing classes. 



What I don't like is the competitive element.


So, I am going to have to decline. I have all my career argued that competition is not the best way to encourage the arts for young people, and today, I find there is more and not less competition in student creative writing. For example, at one point, your organization was active in promoting the writing, workshopping, performance, and publication of creative writing among school children, none to little of which involved winning and losing. And yet now, Poetry Out Loud, is the main  creative writing activity for kids, and while it encourages and teaches many things, the end of it all is winning. 

The problem then is that for the final winner, there are many many...losers. You can call it other things, but in fact, it is losing. I have never seen creating competitors as a very good goal for the arts, and especially not for student artists.
 
 I wish you all the best for this endeavor, and if you have any activities in creative writing that do not end in winning and losing but end in the written or spoken word, its performance or publication, without a winner, I'd be more than willing to serve.


In return, I got a response on how much students today want competition-- it's generational, like social media and the internet, they said. (Huh? No one is on the internet more than I am) and then came some good outcomes for this emphasis: the people who work hardest, win. Except when they don't, and then students learn that judging is subjective and they accept the results. 

I know my deceased sister, a college performance professor, was utterly opposed to performance competition and convinced her college to let her take her students not to competitions but to events where they received feedback on their performances. But that's been awhile, so I asked my former University of Findlay colleague Carole Elchert, professor of performance and performer extraordinaire, what she thought and she replied:


As for the Poetry "contest," I have railed about such nonsense for years at two universities and in conversations with other artists, especially those pseudo-artists running art events, where they have a RIDICULOUS set of criteria for winning, thereby creating losers in an event that is about expression, not competition.  Competition is for males fighting for females.  Anyway, I recently refused to judge a national forensic contest with seven contestants without a break between and then a 15-minute discussion between judges, using a template that makes no sense (not a darn thing I teach in speech class, so who knows what the ??>?!!@ criteria are).

Hmmm. So then I asked a man with talented college-age daughters what he thought. "I think a lot of this competition does more to discourage kids in the activities than it does anything else, don't you?" he answered. 

But really, these are old farts like me. Maybe this generation wants so much competition, as my respondent said. So I decided to ask the real expert on the subject of this generation of student writers and I went to my niece, Bessana Kendig, a current second year student in creative writing at Columbia School of the Arts. She reported that she was fortunate to have a good creative writing course at her high school and that she had taken a summer workshop, and  most meaningfully, she had then led workshops for grade school kids in a drop-in or regular attendance, no-fee program. Her answer to my question about the value of competition of the arts was the most eloquent of all:

I think formal competition for creative writing isn't healthy for the younger developing minds and their self esteem. There is already enough competition between students in schools and it's only another way for students to struggle to meet more expectations. That's not to say there aren't benefits to formal competitions at the high school, college entry, or graduate student level. I know many competitions revolve around winning scholarships which are worth the stress and determination to win. Personally, I support the idea of cultivating creativity without the clouding pressure to be a winner. Everyone should be encouraged to express themselves and competition only limits the potential of many talented people who are not the winners but are still craftsmen never the less.

And really, I can't even. Say it better, that is. Maybe this is just the matter of the apple falling close to the tree, maybe Kendigs are just nuts, but I think not. I think Bessana speaks for a whole lot of kids today who want to create, not compete.

PIPER KERMAN IN OHIO WOMEN'S PRISON

Piper Kerman, author of Orange Is the New Black is back in prison, this time in Ohio, and this time as a teacher...and a role model. She is here as her terrific, poised self. She read at the Ohio Reformatory for Women this past Wednesday night, where I was guest of ORW teacher Drew Shifley. This is my account of my time there and her time there, reading and responding during an engaging, exciting Q and A. 

 

 

As many know, I spent four months of my life, stretched across 18 years, in a
medium-maximum security prison in Lima, Ohio as a college professor and a volunteer creative writing workshop leader. Those years left me with an abiding interest in the idea and the fact of prison. And it made me intent on prison reform. Among historical U..S. sites, I have visited Alcatraz,  Eastern Penitentiary, the Wyoming Territorial Prison, and the first U.S. jail in York, Maine. I have also visited Kilmainham Gaol in Dublin and the jail in Managua, Nicaragua. I have led literature and creative writing workshops in Grafton, Allen, and the now closed Lima Correctional, all in Ohio, and in La Modela Prison, outside Managua, Nicaragua.


But I had never been in a women's prison till Wednesday. 

It was pretty similar to the majority of prisons I have been in, with a typical sallyport entry, so I was wearing no metal, stripped all my jewelry off and left it with my purse in the car, slid through the metal detector with just a plastic pouch of my I.D., pen and paper. Drew took me on a tour of the campus, a mix of old, heavy gray stone and newer buildings that looked like temporary WWII structures. I most enjoyed the beauty salon. At LCI, we had a barber shop where my former student and later Hollywood actor Bill McKenzie trained and learned the trade of barbering that paid his rent while he went out on auditions. At ORW, hair dos and manicures were going on, and I was offered one, but we had to get on to the show. It was nearing supper, so a lot of women were out on the grounds, and in the fact that they have to wear pants and shirts, the scene was not all that different from a men's prison.

Entering the chapel where the reading took place, Drew scored seats for us in the first row on the right. Piper's student were first row center, all sitting up tall and clutching their copies of Orange Is the New Black, all wearing the blue shirts with orange collars and blue pants. We waited half an hour, and then Piper walked in in a beautiful sleeveless green brocade-like dress and sat down right beside me. We shared a polite exchange, and then it really was showtime, led off by the Deputy Warden and then the Warden, Ronette Burkes. And you will forgive me if I continue with the couture for the evening--and this won't be the last time--but there was the first huge difference from a men's prison. Where the wardens I have known in men's prisons (even the one woman warden) always always wore suits, these two women were  in a colorful orange dress for the warden, in a purple flowing top for the deputy warden, both in sandals. It was clear when they introduced the author that the two women are as deliriously happy to have Piper among them as her students are.

Piper began by reminding the audience of her background: time served in the Danbury Connecticut Federal Prison, in the Federal Transport System, and in the Federal Jail in Chicago. She would read three passages from her book, then take questions.

She began with "Schooling in the OG," which begins, "I had learned a lot since arriving in prison five months ago...." including a recipe for "Prison Cheesecake." (The recipe is here,   but to get Piper's tips on avoiding mishaps, read the book.) The passage also treats the prison yoga class led by Yoga Janet and the five women who attended the sessions. 

Second she read a passage about an afternoon when one of the prison teachers took her and a friend away in a truck, into a woods, and to the edge of a beautiful lake, described in awed detail. Piper the inmate put her hands in the cool water, then spent the afternoon painting picnic tables. Piper the author used it as an example of how the writers of Orange Is the New Black used an incident in the book and blew it up bigger than life in what became what I will call a beach scene at the end of one season. (No spoilers here.)

The third passage she read, from chapter 16, "Good Time" concerns Christmas in the prison and unlike John Prine's version, this one is about the women's activities and friendships during the season.

Then she opened the floor for questions. Without a recorder, I am left giving you the closest account of her words, so I am quoting indirectly but as accurately as possible.

Q: Where did the title come from?
A: Sometimes authors get a title after the work is written, or somewhere along the way, but this title was with me from the beginning. I wanted to use a play on that fashion statement we hear every season, "Gray is the new black" or "Turquoise is the new black," but I also wanted to signal that this is about women. The latest statistics note that there is a 650% increase in the incarceration of women (some say 800%) while there has been a 400% increase for men. I wanted to signal this problem.

Q: How do you feel about being in the same state as "Nora" now that you are in Ohio?
A (smiling, maybe ruefully explaining to the audience): My former girlfriend, "Alex" in the TV series, lives in Cincinnati, and her sister in Dayton. Well, you know, I had to take responsibility for what I had done and get over revenge ideas. And Cleary has a book now. I haven't read it all. And Cleary is Cleary. She is taking care of her aging mother, and that's a good thing. Her sister has gotten her degree and is doing good work. 

Q: Are you still in touch with the women in the book?
A: Yes, some. Some from the beginning, like Yoga Janet and Pops. Some got in touch with me when the book came out. One woman that isn't in the book is from near where I am from, Massachusetts, and we have similar lives-- divorced parents and stuff-- and she read the book in draft and gave me good feedback.


Q: Is the chicken real?
A: The chicken was real, but it was a chipmunk. (Piper told the real story, then the account of seeing the story boards for the TV show. But again, no spoilers. Just: the chicken was a chipmunk.)


Q: Is the guy who supported you the whole time, the one in the book-- is he the one you are married to now?
A: Yes, Larry. Larry is the one I am married to. I was fortunate to have support while I was in and when I got out. I tell everyone, what you need most is a support system.


Q: Why Ohio? Why are you here? 
A: I have to say there was a long response to this, but it wasn't an answer. It is clear that Piper is teaching at the Marion Men's Correctional one day a week and at Marysville one day a week, that she is here with her two children and Larry. At the end of the year, she is hoping to produce an anthology from the women's writing (ala Wally Lamb, though produced in condensed circumstances), but why Ohio, um, that wasn't clear. Or even murky.

Q: What was your motivation to write the book?
A: I knew right away that I would write a book. I have such a belief in the power of memoir to clarify and heal our experience-- it is why I am here, helping people to write their memoirs. But I think it takes time, too. One of the prison memoirs I have read was written too close to the experience. At least I think so. I'll have to see what the women in my group say. I think you need time to sort through it the experience.

Q: How do you feel about the TV series? How do you feel about the actress who plays you?
A: I think it is sort of an over the top version of my experience, as I demonstrated with that passage I read on the lake. I've been to sessions with Genji Cohen and the writers, and I have contributed. And on the set too. Once I saw a scene, and I said, "The woman would never poke the guard like that. Never," and they changed it. But one time, they just said, "Well, in our world this is going to happen." And if I am not there, they are going to do it however they want. And the actresses are amazing. When I read the character of Suzanne, I thought, oh, I don't think I like this, this insane character (Suzanne "Crazy Eyes" Warren in the show). It seemed so disrespectful when I read the script. But then they got an actress ("Uzo" Aduba) to play the part with so much love and heart, and I love it. I really like Taylor. She is a lot taller than me. 

Q: How would you compare teaching to writing?
A: This is the first time I have taught, and it is an amazing experience, but I have to say, I am very glad we have these books to read and discuss each week. We are reading nonfiction books from many points of view-- One that we read, Running the Books is from the point of view of a prison librarian. I have to say the one thing I have not been able to find is a good book from a warden's point of view (turning to the warden, who sputters, "In my retirement!")   

Q: I read somewhere that you are working on prison reform. Are you, and if so, how?
A: I am, mostly with my writing and speaking. I think by sharing my experience, I am lending my voice to prison reform. We may be making some inroads. Six states have reduced their prison population by 23% in the past year. That's a start.

Q: Did you read Emily Nussbaum in this week's New Yorker, writing that the show tackles topics that aren't being aired anywhere else? For example, the topic of privatization.
 A: Yes, I did. Emily Nussbaum has been a big fan of the show. And I like the way she has described it: "The series rejects realism, mining instead an outrageousness that verges on the vaudevillian."  I was the one who got the theme of privatization into the show, so I am very pleased with that issue. 

Warden Barnes and the Deputy Warden were sidling up, suggesting our "good time" was
Photo by Shiffley
coming to an end. They gifted Piper with a OWR travel cup, and announced that Random House was giving a copy of the book to everyone in attendance and that Piper had agreed to sign them. And there were cookies and lemonade. The line for Piper's autograph was already winding around the whole enormous room and out the door, and we couldn't say that long. We got our copies and headed out the building, over to the sallyport, waiting for the bzzt to release the door to let us in and lock us up and hand over my I.D. and let me out. 


I left prison last night, elated as I have often been when leaving the joint  that good work was going on in a very tough place. But for the first time in decades, I also felt that maybe, just maybe the U.S. is going to make some headway in improving our particular version of prison. For a long time, it seemed you were considered a lunatic for even suggesting that the system was not fair, logical, economical, ethical, or beneficial to the society. But politicians on both sides of the aisle, church people, people of conscience and average people who haven't been in prison are beginning to see the need to improve. The amount of money we spend on such a very bad system that perpetuates itself is growing more and more appalling to us all. And the voice of Piper Kerman is one of the voices leading us up, out, on into better ways, better lives.

DEMENTIA, AGING, CAREGIVING; 12 Books I Recommend

Last in a three part-series on Dementia. 
See part 1, "Dementia: What Dickens Knew" here  
See part 2, "Dementia: Visiting the Cleveland Clinic and Beyond" here

 When I face the new stages of life, which are often the old stages, I read. Like childbirth and cancer, the old age stage is filled with horrid unfounded tales told by our contemporaries. Books can be filled with untruths too, but can be fact-checked and considered at length and close at hand. I tend to appreciate authors who provide both personal experience and research, especially statistics and references. Here are a dozen titles whose books I have benefited from, some going back to my sister’s fight with cancer 2000-2002 and my mother’s all too brief illness and death with pulmonary fibrosis in 2008 up to my father’s current dementia.

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My Top Two

 

My top two are Katy Butler’s Knocking on Heaven’s Door (2013) and Atul Gawande’s On Being Mortal (2015). I found Butler’s book through her essay “What Broke My Father’s Heart” (in Best American Essays 2010) about her family’s struggles with her father’s dementia. The essay first appeared in the NewYork Times .

What I like best about this book is Butler’s stunning use of facts about the medical establishment and especially how much of our care is driven--misdriven, careening into walls, smashed-- by our health care system. (This was all before Obamacare, so I am not going to be blaming it, which has at least provided some health care for thousands and thousands who never had it.) For example, her father’s specialist was paid thousands of dollars (counting a gold-plated watch) for every pace-maker he put in, but her father’s lifetime GP could not be paid for an appointment to explain why the pace-maker was not a good option for him. This book is heart-wrenching, factual and so well-written. 

More recent and my current favorite is On Being Mortal (2015).  Now, I have been smitten with every article and book on health that Dr. Gawande has written, and I am chauvinistically pleased that he is an Ohio boy, born and raised in Athens. More to the point, though, he is now a surgeon in Boston and a medical professor at Harvard. Everything he writes is filled with his common sense, clear prose, and many case studies and facts. In this book, among studies of his patients and other doctors’ patients, he also gives stories at length about his own parents and other family members. The book is divided into sections on topics such as independent living, assisted living, and hospice. While recognizing some of the worst practices, the book reflects most on best practices and some fascinating history, including the story of the woman who founded the concept of assisted living. Gawande's account of his own father’s decline led me to see that he has definitely walked in my shoes, a few paces ahead of me, and I am glad for his wisdom and practices that I can try to follow. Katherine Boos’ blurb on the book sums it up perfectly: “A deeply affecting, urgently important book—not just about dying and the limits of medicine but about living to the last with autonomy, dignity, and joy.”

Then, ten more books, in alphabetical order by author:


Ira Bycock. The Best Care Possible: A Physician’s Quest to Transform Care Through the End of Life (2009). Bycock is a doctor specializing in palliative care, whose writing and work is in trying to get us to think and talk about the end of life. He has convinced me that more palliative care might make for less euthanasia. He has seen that palliative care can cure needless suffering and in some cases, actually helps people live longer and if not longer, to have better deaths. Certainly palliative care would have ended the terrible pain that my mother had the last week of her life when she was refused palliative care by both her GP and her specialist, who claimed she had 5-7 years to live and who never witnessed her suffering. 

Roz Chast. Can’t We Talk About Something More Pleasant (2014).  I am not a big fan of cartoon memoirs, nor graphic novels, nor their ilk in many categories, but I am a fan of Chast’s New Yorker work. I could not relate to Chast’s distance and seeming disapproval of her parents’ lives, of what seemed her driving force, guilt. But I very much related to the dynamic she depicts where we all fluff off the discussions that Bycock is trying to get us to have. I am hearing my generation repeat the same useless lines of my parents: “When I get to the point where I can’t do anything but___ [fill in the blank with: watch televisions, go to a nursing home, live on IV’s….], just shoot me.”  Chast's whole book, starting with the title,  reflects this attitude of her parents. Read it and weep and then start talking, to your kids if not your parents.

Charles Dickens. Little Dorrit (1855, among his many novels with elderly characters, pleasant and not). Supposedly George Bernard Shaw once said that this book is “more seditious than Das Kapital,” and while Shaw probably meant the novel’s portrayal of poorhouses, the character of Mr. Dorrit in relationship to Mr. Nandy provides a clear and seditious treatment of what Pipher (see below) calls “the old old” by “the young old.” In addition, the portrayal of Mrs. Plornish, Nandy’s daughter, shows an adult child who reveres her father and tries to do best by him in her father's difficult economic circumstances along with her own. 
  
Doty, Mark. Heaven’s Coast (1997) and Dog Years (2007). Doty had many years of caregiving for his partner who died of AIDS, for other friends, and for his aging dogs. What was most useful to me was his criticism of some the bossier hospice providers, while still appreciating hospice. His words comforted me in the aftermath of my sister’s and mother’s negative experiences with hospice. Doty, for example, notes of the hospice provider who started to hint that his lover should talk about “letting go,” “Doesn’t it make sense that we might wish to have these conversations, if we wish to have them, with people we love?”

Steven Henry Goldring, Unbelievable (2010). This self-published book doesn’t deal with aging, but it does show in clear, hair-raising detail how family members can turn on relatives and have them committed to institutions unnecessarily. Many of the elderly are threatened with commitment by sons and daughters, as well as by government agencies, as I have written about on this blog. I once heard a former teacher of mine, living across the hall from my father, being screamed at by his daughter, “If you even think of removing me as your POA, I will have you declared mentally incompetent.” Steven Goldring managed to extricate himself and is living much more healthfully ever after, with humor and grace.  

Jacoby, Susan. Never Say Die: The Myth and Marketing of the New Old Age (2007). Like Katy Butler, Susan Jacoby is here to tell us that living longer is not the best of all possible worlds, though much of our national conversation and medical practice would make us believe so. An author of nine other well-researched books, many on history, she provides American history to show that we are a youth-oriented culture and current examples to show we are burying our heads in the false sands of how young we can stay forever if we just live right. She is trying to get us to lift our heads and look death in the eye.  

Dr. Kenneth A. Kosik, The Alzheimer’s Solution: How Today’s Care Is Failing Millions and How We Can Do Better (2009). I stumbled upon this book in the library when I was first facing my dad’s situation after the death of my mother, who had been making up for his memory loss as he was making up for her physical weakness. And while this book had so much more, my reading focused on his analysis of how much money the drug companies are making on Alzheimer’s medicine that shows no clear clinical proof of working, only anecdotal evidence. It’s been a big influence on me. Researchers continue to search for a drug that will work, which I’d love to see. This week, NPR had a story on two new ones they will begin testing on humans in 2016, and I’d love to see them work, for me maybe, if not in time for my dad.

Dennis McCullough. My Mother, Your Mother: Embracing “Slow Medicine,” A Compassionate Approach to Caring for Your Aging Ones (2007). A geriatrician for many decades, McCullough, like Butler and Bycock, believes that much of our super-duper expensive, end-of-life care is chosen out of an uninformed, crisis-like atmosphere. Like Bycock, he is in favor of palliative care, and both of them, unlike the doctor and family that Iwitnessed in my father’s presence, are motivated more by the patient’s comfort than the family’s or institution’s desire to get it all over with.  Also, his emphasis is on the adult children helping the parents to navigate the confusing waters of elder care, and not to wait, as Chast's family did, until so late in the process but to start having the conversations early. I also love his admonition for adult children to remain in attendance during their parents' hospitalizations. Dr. McCullough notes, “Most geriatric doctors I know would not want their own parent in a hospital without a family member in attendance at all times.” He is good at recommending movies and quoting poems that are apt for these situations.

Mary Pipher, Another Country: Navigating the Emotional Terrain of Our Elders (1999). This book is a little older than the others, and it comes from a clinical psychologist who sometimes, honestly, seems a little flakey to me. However, I really like and respect how she tries to get the younger generation to see that much of their difference from the older generation is based in different world views that are legitimate on both sides. (Many of the younger generation just like to think they are so much smarter than their parents.)  For example, she says, our parents’ generation is “pre-irony,” clearly a different way of looking at situations. Like me, she has always genuinely liked older people.“In America, we are xenophobic toward our old people,” she notes. She also makes an interesting distinction between the young old and the old old-- the former being, well me, someone 60 or older who still has good health and the latter, those who are old but with health issues. Like McCullough, she salts her writing with quotes from literature, which is a relief because her own writing style is a little wearing. 

Laura Wayman, A Loving Approach to Dementia Care: Making Meaningful Connections with the Person Who Has Alzheimer's Disease or Other Dementia or Memory Loss (2011). Honestly, this one seems a little flakey at times, too, and a bit over-focused on one way to deal with dementia. However, having seen many unloving approaches to dementia care, I have to rate this one loving and worth reading, especially for two things. First, Wayman focuses on the caregivers, and how they need to take care of themselves. Second, she has very practical suggestions for those who are having difficulty responding to parents and patients who are mentally in another world, maybe not able to recognize the world they physically live in, maybe not even their own adult children. 

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That's my list for now. Please feel free to post in "Comments" any titles I am missing. I'd love to see suggestions for poems, novels, and movies that treat the topic of aging and caregiving, too.