Story Preservation Initiative®

Preserving the Stories of Our Lives by capturing the voices, words, and meanderings of artists, scientists, writers, poets, musicians, and eyewitnesses to history. Listen, learn, and be amazed! WEB: www.storypreservation.org

Ashley Bryan ⎥ Opening Paths to Exploration

A story of courage, ethnicity, generosity, and inspiration.

 

AshleyBryan

CLICK ON LINKS BELOW TO LISTEN TO ASHLEY’S RECORDING. 

Renowned for the extraordinary range and depth of his talent, Ashley Bryan is an artist, a writer, a poet, an anthologist, a storyteller, and a noted scholar of African and African American folklore.

His children’s books are full of love – all embracing, inspiring, warm, colorful, joyous, and bursting with song. He works largely with Black African-American poetry and spirituals.

Ashley hopes that his work with African tales will be like “a tender bridge” connecting past to present, reaching across distances of time and space. Ashley’s numerous awards and honors include the Coretta Scott King Award for Illustration; six Coretta Scott King Honors; the Arbuthnot Prize, one of the highest honors in children’s literature; and a Fulbright Scholarship.

His poetry and paintings have and continue to influence a whole generation of children.

Born in 1923 in Harlem to West Indies immigrants, Bryan’s childhood was filled with books, music, and art, even though resources tended to be scarce during the Great Depression. Second of six children, Bryan cannot remember a time when he was not drawing or painting.

One of Ashley Bryan's Sea Glass stained glass windows.

One of Ashley Bryan’s Sea Glass windows.

His first memories were of his parents sending him to Government run WPA classes which were free, and where he learned to draw, paint and play musical instruments. Ashley’s mother sang and his father played the piano.

After graduating from high school, he applied for a scholarship at a prominent art institution, but was essentially told that a scholarship would not be wasted on a colored person. Under the guidance of his high school teachers, Bryan then applied and was accepted into New York’s prestigious Cooper Union Art School. Two years at Cooper Union and Ashley was drafted into the army to serve in World War II. At the age of nineteen, as a part of the fleet that sailed to Normandy for the surprise invasion, Bryan drew whenever he could, keeping a sketch pad and art supplies in his gas mask.

From there, Bryan went on to study philosophy at Columbia University to, as he says, “understand war.”  He received a Fulbright scholarship to study art in Europe, and became the head of the art department at Dartmouth College.

Ashley's home, where the door is always open.

Ashley’s home, where the door is always open.

 

 

Ashley Bryan lives on Little Cranberry Island off the coast of Maine.

The above copy is taken from numerous sources, including Wikipedia, Reading Rockets, and Simon and Schuster author profiles.

 

 

 

 

 

 

 

 

 

TRACK ONE:  INTRO TO RECORDING – 

TRACK TWO: EARLY YEARS IN THE BRONX – 

TRACK THREE: THE IMPORTANCE OF COMMUNITY – 

TRACK FOUR: WORLD WAR II – 

TRACK FIVE:  THE ALL-WHITE WORLD OF CHILDREN’S BOOKS – 

TRACK SIX: AFRICAN FOLK TALES – 

TRACK SEVEN: AFRICAN SPIRITUALS – 

 

 

The transcription from the first section of our interview follows: 

 

Growing Up in the Bronx / Discovering the Importance of Community

I was born in New York City on July 13, 1923 of immigrant parents who had come from Antigua in the West Indies. They had six children; I was the second. I was raised in the Bronx during the Depression years. My parents provided food, clothes, and shelter but they couldn’t afford other things.

At that time there was the WPA, the Works Progress Administration. They offered free art and free music classes for communities throughout the country. My parents sent the six of us to all the things that were free that would help us to develop ourselves creatively. We worked with whatever materials we could find to recreate them, to make something of them — things that we would find on the streets – including fabrics and things from upholstery stores. My sister and I would bring them home and rework them into quilts, into skirts and jackets. We were always working with castoff materials, recreating them, bringing them into another form of life, which is a pattern that has stayed with me through life.

The good thing about growing up in tenement apartments was that we knew everyone in the house. Everyone looked after the other. My parents took care of the elders in the house. In good weather people sat out on the streets. They would bring their instruments, their music, what they would drink in the warm weather. They always had an eye out for the children. It was a different world in the 1930’s growing up in the city, which was broken down into small communities. It was that sense of community, which I’ve carried through life, which followed me to these islands off the coast of Maine. That’s what helped me decide that this would become my year-round home, because the community that I found here reminded of my New York City tenement apartment.

 

Cooper Union and Columbia University

My father was a printer but when he came to the United States, being a black man, all he was offered was a mop and broom. My dad never talked about racism. He simply said, “I knew I wasn’t going to last long in a job like that.” So, he went to the British Consulate and got a certificate from them stating that I had served in His Majesty’s Army and that he had worked as an apprentice printer as a child. That gave him an entrance into a downtown printing plant and that’s where he worked. He said it gave him a chance to be expressive in his work. And he was always bringing home extra papers from work. So I had these beautiful papers to work with.

I also had the good fortune of having wonderful teachers in elementary school. I had all white teachers throughout elementary, junior high, and high school. They all encouraged me. They always recognized my talent and gave me the materials that I needed to keep growing in my love of art.

In high school I joined the Art Club and, on graduation, I had the help of my teachers to prepare a very strong portfolio. Before graduating, they gave me the list of art schools in New York City to go to. So I went from art school to art school and was told – and this is New York City – “this is the best portfolio we have seen, but it would be a waste to give a scholarship to a colored person.” When I came back to the high school and told that to my teachers, they said, “Ashley, come back and take a post-graduate course.” They knew I was black, I knew I was black, and there was no problem. It didn’t occur to them that I would need anything beyond my talents. So they said, come back, take a post-graduate course, work on your portfolio, and in the summer take the exam for the Cooper Union School of Art and Engineering. They do not see you there. So, that summer I took the exam. At that time, in 1940, there were three exercises: one in drawing, one in sculpture, and one in architecture.

When you finished those exercises, you put your work on a tray with all the information of who you are on the platform of the Great Hall. It’s a very famous hall, where all of our presidents have lectured, from the earliest time. It was founded in1850 for the working young men and women of the country, primarily for young women working in all aspects of the garment trade and for young men in engineering, as Peter Cooper was an outstanding engineer. So, I took the exams, I put it on my tray and left. Then professors looked over all of the work, and they selected those they wanted for admission to the Cooper Union. I was fortunate in being one of them. I was the only black in my class, but I had grown up in a mixed community of French, German, Italian, and Irish.   I became close friends with the students there. We have followed each other through life. The very few, who at ninety, are still alive, I’m still very close to.

 

Interrelationships

I was never a loner. I was always with others. I was alone in my art, creating my art. All artists and composers, in whatever form, they have to be alone in developing in what they do. But I always loved being with others and sharing my work. And I always had the respect of others, because of my real love of doing my work – and my respect for what they did. I was lousy in sports. I’d be the last one chosen on any team. But they understood that and they spoke of me as the artist of the community. I was never picked on. I don’t know why that is, other than I always had such a deep respect for what other people do that it never occurred to me that there was any kind of a hierarchy. You could be sweeping a street and I would respect what you were doing and your work in that community.

My work in the community was always open to people dropping in. I drew so much from just the informal visits and what they would have to say. You know, I think that’s why I say I don’t believe in interruptions in my life. Right now, talking with you, I am creating. I am drawing, I’m painting, I’m doing my bookwork, I’m doing my puppet work, my sea glass work. There is no interruption. Everything that is happening to me I feel is significant. There is no way you can take my time. It’s the one thing that I possess. I can only offer it to you in exchange for your precious gift of your time, so remain on a level of back and forth, you see. And that is why my door is always open and people will come and go. But they come and they say, “Oh, we’re interrupting you.” No! Look! Do you want to see my paintings, do you want to see my drawings, do you want to see my sea-glass work, do you want to see my bookwork? I am always producing.

 

WWII / Looking for answers

When I came back from the Second World War I was so spun around, as veterans are, it was difficult to go on. Well, I knew when I came back (I was inducted at nineteen) that I wanted to complete my studies at Cooper Union. So, I knew my direction. I was not like veterans who don’t have a direction. After the experiences of a war, they find it difficult to adjust and go one. Very often then, because they don’t have enough services to keep following them up, they fall through. And that’s why, when they say a third of the homeless are veterans, it’s very understandable, because without help of family, friends, or a direction in life, or a medical support system that will follow them closely, it’s very hard after those experiences, to say you’re normal and go on. That’s what I experienced when I came home. I knew I wanted to complete my course study, but I also knew I wanted to understand why man chooses war. So when I graduated from Cooper Union, I did undergraduate work as a philosophy major at Columbia, to see if I could find answers. And I only found more questions. But I was so intrigued by the way man thinks, in aesthetics and ethics, in logic, and these areas, which I studied, that I stayed with it. Summers I’d come up to Maine and I’d be outdoors painting the whole time. That’s what really gave me a focus and direction. When I graduated from Columbia University, I knew I would not go any further in studies.

Please check back regularly.  More of the transcription to follow. 

Made possible with funds provided by the Wolf Kahn and Emily Mason Foundation.              

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Mary Evelyn Tucker ⎥ Religion and Ecology

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Image from Religion and Ecology, Island Press, 2014

This is a talk that spans 13.8 billion years – from our cosmic origins to our place in the Earth’s ecosystem. Happy to say audio is up!

The relatively new alliance between religion and ecology is based on the belief that religions are a primary source of values in any culture and the environmental crisis that we face is fundamentally a crisis of values.

Mary Evelyn Tucker is a Senior Lecturer and Research Scholar at Yale University, where she teaches in a joint master’s degree program between the Yale School of Forestry and Environmental Studies and the Divinity School and the Department of Religious Studies.  She directs the Forum on Religion and Ecology at Yale with her husband, John Grim.

While environmental issues are most frequently viewed through the lens of science, policy, law, and economics, in recent years the moral and spiritual dimensions of this crisis are becoming more visible.

“Our current ecological challenges are such that they require the insights of the world’s religions to awaken moral passion and concern,” Tucker says. “And these voices are needed now.”

Her concern for the growing environmental crisis, especially in Asia, led her to organize with John Grim a series of ten conferences on World Religions and Ecology at the Center for the Study of World Religions at Harvard (1995-1998). Together they are series editors for the ten volumes from the conferences distributed by Harvard University Press. In this series she co-edited Buddhism and Ecology (Harvard, 1997), Confucianism and Ecology (Harvard, 1998), and Hinduism and Ecology (Harvard, 2000).

After the conference series she and Grim founded the Forum on Religion and Ecology at a culminating conference at the United Nations in 1998.

Books include: Ecology and Religion, John Grim and Mary Evelyn Tucker, Island Press, 2014 /  The Emerging Alliance of Religion and Ecology, University of Utah Press, 2014 / Worldly Wonder, Open Court, 2013

For Mary Evelyn’s full bio and additional information on projects and publications, go to: http://www.emergingearthcommunity.org/mary-evelyn-tucker

Information for this post was taken from numerous sources, including the Emerging Earth Community website.

To listen to Mary Evelyn talk about the alliance between religion and ecology, click on links below (run time 34:00):

Vivian Perlis  Preserving the Voices of American Music

Used with permission. Photographer unknown.

Perlis, Copland. Photo credit: David Walker

I have to say I am especially looking forward to sitting down with and recording Vivian Perlis.  I’ve known her personally for more than 30 years and admired her deeply since the day we met. Vivian is an historian in American music.  She is widely known for her publications, lectures, and recording and film productions.  In addition, she is a groundbreaking oral historian.

Vivian Perlis is the founder and former director of the Oral History of American Music (OHAM) project at Yale University.  OHAM is known to be the preeminent project in the field of music dedicated to the collection and preservation of oral and video memoirs of the creative musicians of our time.

Her story begins:  In 1969, while working as a reference librarian at the Yale School of Music, Vivian started a project of tape-recording interviews with those acquainted with the composer Charles Ives, a Yale graduate. Her work – thorough, methodical, and revealing – culminated in 1974 with the book: “Charles Ives Remembered: An Oral History,” for which Vivian was awarded the Kinkeldey Prize of the American Musicological Society.  Hailed “a vivid memory portrait of an enigmatic American composer, told in the voices of the people who knew him best.”

Beginning with her pioneering work in 1969 and extending through to the present day (via OHAM), there are “thousands of recordings and transcripts accessible to a wide range of users including scholars, musicians, students, arts organizations, and the media.”*

From the OHAM website: Following the Ives Project, it was evident that no systematic scholarly research was in progress to document creative musical figures by means of tape-recorded interviews. Several composers had spoken about Ives, and in so doing, about themselves as well. (It is not a good idea to ask a celebrated composer to talk only about someone else.) These formed the nucleus for a broader-based project, Oral History of American Music (OHAM). Included were Elliott Carter, Lou Harrison, Nicolas Slonimsky, and Dane Rudhyar. Through the decades since the founding of OHAM, composers have continued to be the project’s primary focus.  

Perlis, Bernstein, Copland. Used with permission. Photographer unknown.

Perlis, Bernstein, Copland.
Used with permission.
Photographer unknown.

A list of interviewees can be found at: http://web.library.yale.edu/oham/major-figures

In 1984 Copland: 1900 through 1942 was published.  Perlis and Copland co-authored this “enduring record of an American maestro’s explosively creative coming of age.”  The book garnered a Deems Taylor/ ASCAP award.

A review upon its release: Aaron Copland is one of America’s most beloved musical pioneers, famous for Appalachian Spring, Billy the Kid, and Lincoln Portrait, as well as the movie scores for “Our Town” and “Of Mice and Men,” and numerous orchestral and chamber works. This candid, colorful memoir begins with Copland’s Brooklyn childhood and takes us through his years in Paris, the creation of his early works, and his arrival at Tanglewood. Rich with remembrances from Leonard Bernstein, Virgil Thomson, and Nadia Boulanger, as well as a trove of letters, photographs, and scores from Copland’s collection.

In 1989 Copland Since 1943 was published, again to much acclaim.

In 2013 The Complete Copland was issued, combining the earlier two books into one volume.

Other works include:

Composers’ Voices from Ives to Ellington, co-authored with Libby Van Cleve, includes two CDs and is derived from interviews in the OHAM archive.

Among her productions are recordings of the music of Leo Ornstein and Charles Ives, and television documentaries on Ives, Eubie Blake, Aaron Copland, and John Cage.

Honors and awards received include: The Charles Ives Award from the National Institute of Arts and Letters (1972); a Grammy nomination for “Charles Ives 100th Anniversary” (1974); the Harvey Kantor Award for excellence in the field of oral history (1984); a Guggenheim Fellowship (1987); and the Irving Lowens Award for distinguished scholarship in American Music from The Society for American Music (1991).

In 2010, celebrating the 40th anniversary of the archive, Vivian was honored at both Carnegie Hall and Yale’s Zankel Hall.  She stepped down as the director of OHAM the same year; however, she remains active and ever-influential. She continues to serve as a senior research scholar at Yale University.

TO LISTEN TO THE INTERVIEW, CLICK ON LINKS BELOW. 

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Stories Matter

Personalized learning at its most personal

Screen-Shot-2015-10-02-at-7.21.24-AMAs an off-shoot of a Story Preservation nature-based Learning Lab project, a fourth grader in an SPI Learning Lab subscriber school chose naturalist David Carroll, who is in our collection, as the subject of a research paper. The student is very interested in nature and conservation.

 

The teacher mentioned this to me two days before I was scheduled to visit with David so I asked him if, during our visit, he would be willing to video record a message specifically for this student – and he agreed.

Click here to view.

 

Books are Meant to be Shared

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Story Preservation wishes to thank the family of Pulitzer Prize winning poet Maxine Kumin and long-time Kumin family friend Suzy Colt for gifting a large selection of Maxine’s books to our lending library.   

Included: 

  • And Short the Season, W.W. Norton, 2014 (paperback)
  • Still to Mow, W.W. Norton, 2007 (paperback)
  • Jack and Other New Poems,W.W. Norton, 2005
  • Bringing Together: Uncollected Early Poems 1958-1988, W.W. Norton, 2003 (paperback)
  • The Long Marriage, W.W. Norton, 2001
  • Connecting the Dots, W.W. Norton, 1996
  • Up Country, Harper & Row, 1972
  • The Nightmare Factory, Harper & Row, 1970 (paperback)
  • Lizzie! Seven Stories Press, 2014
  • Quit Monks or Die, Story Line Press, 1999 (paperback)
  • The Roots of Things, Northwestern Univ. Press, 2010 (paperback)
  • Always Beginning, Copper Canyon Press, 2000 (paperback)
  • Inside the Halo and Beyond,W.W. Norton, 1999
  • The Pawnbroker’s Daughter, A Memoir, W.W. Norton, 2015
  • Oh, Harry!, Roaring Brook Press, 2011
  • What Color is Caesar?,Candlewick Press, 2010
  • Mites to Mastadons, Houghton, Mifflin, 2006

Story Preservation maintains a small but growing library of books that complement our audio collection.  All are available on a lending-basis free of charge to teachers involved with the Story Preservation Initiative Learning Lab.

Deepika Kurup

UPDATE!  AUDIO UP!!

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With Deepika Kurup one of Forbes 2015 30 Under 30,  2014 Stockholm Junior Water Prize Winner, and a Google Science Fair award winner (along with much else), Deepika is working on a prototype to quickly, easily, and safely purify drinking water for use in developing countries.

 

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From an earlier post:

First up in the New Year!

Here’s 17-year old Deepika’s story (so far)  ~

On family trips to India as a child, Deepika Kurup often saw kids like herself forced to drink dirty water — as a result, at age 14, she became determined to find to a way to ensure that everyone has access to safe drinking water. For an 8th grade project, the Nashua, New Hampshire teen invented a water purification system that uses a photocatalytic composite and sunlight to clean water — an invention which earned her recognition as America’s Top Young Scientist in 2012.  And that’s just the beginning.

Deepika_Kurup_White_House_Science_Fair

Deepika at the 2013 White House Science Fair

Access to clean water is a global crisis. “One-ninth of the global population lacks access to clean water,” she explains “and 500,000 children die every year because of water related diseases.” On the trips to India, her immigrant parents’ native land, Deepika saw the struggle for clean water first hand: “[My parents] would have to boil the water before we drank it. I also saw children on the streets of India… take these little plastic bottles and they’re forced to fill it up with the dirty water they see on the street. And they’re forced to drink that water, because they don’t have another choice. And then I go back to America and I can instantly get tap water.”

Her early investigations into water purification methods found that many of them were expensive and potentially hazardous. “Traditionally, to purify waste water, they use chlorine, and chlorine can create harmful byproducts,” she points out. “Also, you have to keep replenishing the chlorine, you have to keep putting chlorine into the waste water to purify it.” She wanted to invent a new way to clean water that would be both cheap and sustainable.

Deepika came up with the idea of using a photocatalyst — a substance that reacts with water’s impurities when energized by the sun — that also filters the water. The combination of the reaction and the filtration can remove most contaminants for a fraction of the cost of chlorine purification. She determined that her system reduces the presence of coliform bacteria by 98% immediately after filtration and by 100% within 15 minutes. Another advantage is that her catalyst is reusable: “a catalyst doesn’t get used up in the reaction,” she says. “Theoretically you can keep using my composite forever.”

Deepika’s efforts have already been widely recognized — in addition to being named America’s Top Young Scientist in the Discovery Education 3M Young Scientist Challenge, she was also the recipient of the 2013 President’s Environmental Youth Award and the 2014 U.S. Stockholm Junior Water Prize.  In 2015, she was named one of Forbes Magazine’s 2015 “30 Under 30 in Energy” and received the National Geographic Explorer Award.

Deepika is looking forward to taking her research from the lab to real life: “It’s one thing to be working in a lab, doing this, and another thing to actually deploy it and see it working in the real world. So that’s one of my steps in the future.”

To listen to Deepika’s story, click on links below:

Stories Matter

Make Way for Sy!

AUDIO UP! on this fabulous recording.   It’s impossible to not love and be inspired by Sy!  

Photo by Paula Gordon

Photo by Paula Gordon.  Used with permission.

To research books, films and articles, Sy Montgomery has been chased by an angry silverback gorilla in Zaire and bitten by a vampire bat in Costa Rica, worked in a pit crawling with 18,000 snakes in Manitoba and handled a wild tarantula in French Guiana.

She has been deftly undressed by an orangutan in Borneo, hunted by a tiger in India, and swum with piranhas, electric eels and dolphins in the Amazon. She has searched the Altai Mountains of Mongolia’s Gobi for snow leopards, hiked into the trackless cloud forest of Papua New Guinea to radiocollar tree kangaroos, and learned to SCUBA dive in order to commune with octopuses.

smontgomery_soulofanoctopusSy’s 20 books for both adults and children have garnered many honors. The Soul of an Octopus was a 2015 Finalist for the National Book Awards. The Good Good Pig, her memoir of life with her pig, Christopher Hogwood, is an international bestseller. She is the winner of the 2009 New England Independent Booksellers Association Nonfiction Award, the 2010 Children’s Book Guild Nonfiction Award, the Henry Bergh Award for Nonfiction (given by the ASPCA for Humane Education) and dozens of other honors. Her work with the man-eating tigers, the subject of her book Spell Of The Tiger, was made into in a National Geographic television documentary she scripted and narrated. Also for National Geographic TV she developed and scripted Mother Bear Man, about her friend, Ben Kilham, who raises and releases orphaned bear cubs, which won a Chris award.

Sy writes for adults and children, for print and broadcast, in America and overseas in an effort to reach as wide an audience as possible at what she considers a critical turning point in human history.

“We are on the cusp of either destroying this sweet, green Earth—or revolutionizing the way we understand the rest of animate creation,” she says. “It’s an important time to be writing about the connections we share with our fellow creatures. It’s a great time to be alive.”

She speaks frequently at schools and museums, libraries and universities.

She is a 1979 graduate of Syracuse University, a triple major with dual degrees in Magazine Journalism from the S.I. Newhouse School of Public Communications and in French Language and Literature and in Psychology from the College of Arts and Sciences. She was awarded an Honorary Doctorate of Humane Letters from Keene State College in 2004, and an Honorary Doctorate of Humane Letters from Franklin Pierce University and also from Southern New Hampshire University in 2011.

 

 

 

April is National Poetry Month ~ Get inspired!

SPI March Newsletter - Learn From The Greats - Poets copy

 

ANNOUNCING SPl’S SECOND ANNUAL STUDENT POETRY CONTEST!

The SPI Learning Lab contains the voices and stories of nationally and internationally renowned poets. We combine their stories with suggestions for projects that engage students in the art and craft of poetry writing. OUR NATIONAL POETRY MONTH CONTEST is open to grade 4-12 students from schools subscribing to the Story Preservation Initiative Learning Lab.

 

REGISTRATION:
To subscribe to the Learning Lab goto: http://www.spi-learninqlab.org.
Click Login/Register > Click Register > Click Administrator (even if you are a teacher) > Enter your email and passcode. Registration is available on a quarterly or annual basis and allows all teachers and all students in a school access to the site.

• Official contest rules are posted on the site.

• Prizes will be awarded in each of the following three grade categories: Grades 4-6, 7-9, and 10-12.

• Students can write on any subject and in any form they choose.

 

JUDGED BY VERMONT POET LAUREATE CHARD deNIORD

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In 1998, deNiord began teaching at Providence College, where he was eventually named the tenth recipient of the Joseph R. Accinno Faculty Teaching Award. That same year, he founded the Spirit and Letter Workshop, a ten-day program of workshops and lectures in Patzquaro, Mexico, featuring faculty poets such as Thomas Lux, Gerald Stern, Jean Valentine, and Ellen Bryant Voigt, among others. In 2002, deNiord co-founded the New England College MFA program in poetry, which he directed until 2007.

DeNiord’s poetry collections include Interstate (University of Pittsburgh Press, 2015); Speaking in Turn, a collaboration with Tony Sanders (Gnomon Press, 2011); The Double Truth (University of Pittsburgh Press, 2011); Night Mowing (University of Pittsburgh Press, 2005); and Sharp Colden Thorn (Marsh Hawk Press, 2003). DeNiord also authored a book of essays and interviews with renowned poets called Sad Friends, Drowned Lovers, Stapled Songs: Reflections and Conversations with Twentieth Century American Poets (Marick Press, 2012). The poets featured in the collection include Robert Bly, Lucille Clifton, Donald Hall, Galway Kinnell, and Maxine Kumin, among others. DeNiord is currently a professor of English at Providence College and the Poet Laureate of Vermont.

Remember Dita

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WORDPRESS GLITCH!  If you aren’t seeing the audio bars and want to listen to this recording, click on the post title “Remember Dita.”

 

Kathy Preston tells the unforgettable story of her life as a young girl in Nazi occupied Transylvania, a stunningly beautiful region previously part of Hungary and now Romania.  This is a story to sit with and listen.  It will never leave you.

Kathy’s young friend, Dita (pictured) died in Auschwitz.  It is Kathy’s wish for us all to “Remember Dita.”

Kathy’s father was Jewish and her mother was Catholic. At five years old, Kathy escaped the Nazi roundup of Jews in Hungary when a neighbor hid her under the hay in the attic of her barn. Her father was forced into a ghetto and was arrested by the Hungarian police when he snuck out to try to see his daughter. He would perish in Auschwitz along with 27 other members of his family. Kathy and her mother survived.

Audio copyright Story Preservation Initiative.  All rights reserved.

Stories Matter

Getting by with a lot of help from our Friends

Story Preservation wishes to thank Morgan Blum Schneider the Director of Education at the Jewish Family and Children’s Services Holocaust Center in San Francisco for allowing us to use and share with Learning Lab partner schools the original lesson plan, which she developed, titled Surviving Hitler: A Love Story.  The lesson plan follows the story of Jutta and Helmuth Cords and their involvement with the plot to assassinate Hitler.  Jutta and Helmuth Cords daughter, Claudia Cords-Damon, shared her parents’ story with SPI.  As has been said on numerous occasions, the resulting recording “reads like a novel.”

To find out how your school can participate in the Story Preservation Learning Lab, go to: http://www.storypreservation.org, or contact us at info@storypreservation.net

The JFCS Holocaust Center is dedicated to the education, documentation, research, and remembrance of the Holocaust. The Holocaust Center is Northern California’s primary resource for Holocaust education, leading the effort to increase awareness among the general public about the causes and consequences of racism, anti-Semitism, intolerance, and indifference during the Holocaust and today.JFCS Holcoaust Center LOGO b&W.jpg