Immersion

By DREW CALVERT

The summer after her senior year, Naomi flew to Indonesia with nineteen other Americans and signed a pledge to immerse herself in Bahasa for three months. She stayed in Malang, a city known for its temperate climate and waterfalls, and spent each day at the local college, learning to speak and read and write, piecing together the world again molecule by molecule. It felt like a second childhood, or like being reincarnated. Mountain was gunung. Friend was teman.

Jangan malu, her tutor would say, when Naomi hesitated. Jangan malu. Don’t be shy. In the evenings, she sent emails to her soon-to-be-ex-boyfriend, who was doing a summer internship at a law firm in Houston. He seemed to require a full legal brief explaining his wrongness for her. Apart from that, she was immersed.

Immersion
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Excerpt from Who Is the City For?

By BLAIR KAMIN

This piece is excerpted from Who Is the City For? Architecture, Equity, and the Public Realm in Chicago by Blair Kamin ’79, a guest at Amherst College’s LitFest 2024. Register for this exciting celebration of Amherst’s literary legacy and life.

Who Is the City For?: Architecture, Equity, and the Public Realm in Chicago

By Blair Kamin with Photographs by Lee Bey

Title in bold, white Sans Serif font behind a photo of Chicago's The Bean sculpture. Art Deco high-rises fill the background.

Looking back on nearly thirty years of architecture criticism at the Chicago Tribune, I realize that I have borne witness to a dramatic transformation of Chicago, from a declining industrial colossus to a dynamic yet deeply troubled postindustrial powerhouse, whose favored emblem is a jellybean-shaped sculpture of highly polished steel. The mirrorlike surface of that sculpture, officially titled Cloud Gate but widely known as “the Bean,” reflects the striking skyline of the city’s ever-growing downtown, now home to $10 million condominiums, Michelin-starred restaurants, and an elegant promenade that rims the once badly polluted Chicago River. But the Bean does not reflect the reality of a very different Chicago. That Chicago, though not without distinguished buildings and untapped economic potential, is also a place of weed-strewn vacant lots, empty storefronts, and unceasing gun violence. Indeed, Cloud Gate may be the ultimate shiny, distracting object. While the 2020 census revealed that Chicago’s population grew by nearly 2 percent during the previous decade, to 2.7 million, the dramatic disconnect between the two Chicagos prompts the question: Is this a good city, a just city? Absolutely not. Which prompts a second query: Can those responsible for building the city advance the fortunes of neighborhoods devastated by decades of discrimination, disinvestment, and deindustrialization? On that crucial matter, the jury is still out.

Excerpt from Who Is the City For?
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Excerpt from The Healing Stage

By LISA BIGGS

This piece is excerpted from The Healing Stage: Black Women, Incarceration, and the Art of Transformation by Lisa Biggs ’93, a guest at Amherst College’s LitFest 2024. Register for this exciting celebration of Amherst’s literary legacy and life.

Book cover of The Healing Stage. Black and white text reading "Lisa Biggs; The Healing Stage; Black women, incarceration, and the art of transformation" on a tan background.

 

Stage healing as a practice of self-repair is generated and sustained by women behind bars in collaboration with the volunteer theater artists who direct their drama clubs. The term is deeply indebted to Cara Page and the Kindred Healing Justice Collective, who characterized healing justice as “how we can holistically respond to and intervene in generational trauma and violence … to bring collective practices that can impact and transform the consequences of oppression on our bodies, hearts and minds.” This “active intervention,” writes Prentiss Hemphill, makes listening to and collaborating with people who are “imagining transformative responses to harm” other than “feeding Black incarceration” foundational, not only to healing work but also to Black community organizing—in their case, specifically the Black Lives Matter movement.25 Healing justice recognizes that locating alternative, noncarceral responses to harmdoing requires finding ways to “develop and to honor practitioners of many different disciplines and modalities with capacities and skills to be with trauma, who know themselves well enough to navigate the complex terrain of emotion and guide others towards change.”26

Excerpt from The Healing Stage
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Fatigue Can Shatter A Person

By ED YONG 

This piece originally appeared in The Atlantic. Journalist Ed Yong will be a guest at Amherst College’s LitFest 2024. Register for this exciting celebration of Amherst’s literary legacy and life.  

headshot of journalist ed yong

 

Alexis Misko’s health has improved enough that, once a month, she can leave her house for a few hours. First, she needs to build up her energy by lying in a dark room for the better part of two days, doing little more than listening to audiobooks. Then she needs a driver, a quiet destination where she can lie down, and days of rest to recover afterward. The brief outdoor joy “never quite feels like enough,” she told me, but it’s so much more than what she managed in her first year of long COVID, when she couldn’t sit upright for more than an hour or stand for more than 10 minutes. Now, at least, she can watch TV on the same day she takes a shower.

Fatigue Can Shatter A Person
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No One Wore Pearls Anymore: Jennifer Jean interviews Jennifer Martelli

Jennifer Martelli's headshot: A woman with thick brown hair looks intently and inquisitively at the camera, arms crossed.

One day in 2008, after not writing for almost 10 years, JENNIFER MARTELLI searched “poetry workshops on the North Shore of Massachusetts.” She signed up for the first “hit” that came up, a Sacred Poetry workshop led by JENNIFER JEAN at the now-defunct Cornerstone Books in Salem, Massachusetts. Both Jennifers bonded over poetry, parenthood, and publishing—and a great friendship was formed! They continue to write together, travel together (because Jennifer Martelli is afraid to drive over bridges, Jennifer Jean takes the wheel), and share their work.

In this interview, Jennifer Jean asked Martelli about her latest collection, The Queen of Queens, which explores the political and emotional zeitgeist of the present by probing the past in a lyrical, smart, and singular voice. Jennifer Martelli’s poetry is the self-deprecating inheritor of Sylvia Plath and Marie Howe.

 

No One Wore Pearls Anymore: Jennifer Jean interviews Jennifer Martelli
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Review: American Gospel

By MIAH JEFFRA
Review by YELENA FURMAN

american gospel cover

The city as a character in its own right is a frequent device in otherwise disparate novels. In Jeanette Winterson’s The Passion (1987), a water-shimmering, pleasure-seeking Venice forms the fabric of the female protagonist’s life. Andrei Bely’s modernist tour-de-force Petersburg (1916), following a long tradition in Russian literature, portrays this city as both the site and driver of the action. For the navel-gazing narrator of Marcel Proust’s In Search of Lost Time (1913-1927), Paris and other locations in France are integral sources of his copious memories. The commonality among such city-infused works is the reputation of said cities: world-renowned and possessed of their own symbolic capital and literary mythology. The associations are not always positive—writers often portray big cities as dirty, oppressive, even demonic—but the cities historically portrayed in literature are famed embodiments of grandeur and stature.

Review: American Gospel
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Translation: Master of the House

By AHMET HAMDI TANPİNAR
Translated by AYSEL K. BASCI

Piece appears below in English and the original Turkish.

 

Translator’s Note:

Ahmet Hamdi Tanpınar (1901–1962), a renowned 20th-century Turkish author, poet, essayist, intellectual, and educator, wrote two of the finest works in modern Turkish literature: The Time Regulation Institute and A Mind at Peace. In fellow Turkish author Orhan Pamuk’s 2006 Nobel Literature Prize acceptance speech, he thanked Tanpınar for his considerable influence and inspiration as a literary icon. 

Translation: Master of the House
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The Other Side of the Moon

By JESUS FRANCISCO SIERRA 

The day of the moon landing, George and I planned to hunt for rocks. Jorge was his actual name, but he preferred to go by George, like The Beatles guitar man. We were going to look for samples just like the astronauts would.

I sprang out of bed and cranked the window open. Looking out between the twisting glass slats, I noticed the leaves of our lemon tree were still. I hoped it meant the rains would stay away, even though July afternoon downpours in Cuba were as regular as the blood orange sunsets.

After dressing to the sound of Mima’s clanging in the kitchen and the scent of coffee brewing, I sat at the dining table. I dipped a piece of stale Cuban bread into the café-con-leche she’d set there. “It needs sugar,” I said.

“You don’t need more sugar,” she said.

But I didn’t understand why. Sugar was the one thing on the island that wasn’t rationed. 

I asked if she was going to my friend Raul’s house to watch the moon landing. His family had the only working television in the neighborhood.

“Maybe,” she said.

I’d dreamt about the moon landing even before I learned that the Americans were going to do it. Ever since I read Jules Verne’s From the Earth to the Moon, a book George had given me, I’d been imagining a spaceship just like the one in the book: a long, narrow, bullet-like rocket, slicing through the heavens.

Mima wasn’t much of a reader. Not much of a dreamer either. I think that was why she’d never thought of leaving Cuba, even though everyone else seemed to be doing so.

“What are they looking for up there, anyway?” she said. “We have enough to worry about right here.”

The Other Side of the Moon
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