In the personable Bodega Bakes, pastry chef Paola Velez presents just that: sweets that can be made solely from the ingredients found at a corner store.
In the personable Bodega Bakes, pastry chef Paola Velez presents just that: sweets that can be made solely from the ingredients found at a corner store.
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Africans in America closes with the culmination of the Civil War. That divisive chapter in our nation’s history resulted in a new life for a race bound by slavery a new testament to the Constitution’s pledge that all men are created equal. Africans in America, therefore, is purely old testament, the painful, violent account of people forced into slavery and their nearly 250-year exodus to freedom.

The book, written by Charles Johnson, Patricia Smith, and researchers with Boston Public Television station WGBH, is a companion to the PBS series airing in October. It is written in documentary style, spotlighting major historical events spliced with anecdotes of human struggles with slavery. Johnson is the author of five novels and professor of English at the University of Washington. Smith is a journalist, poet, and playwright. Together, they take material gathered over ten years by the WGBH research team and craft it into a detailed chronicle of slavery.

The book begins in Africa, where the institution of slavery was an element of tribal culture. Still, tribal leaders treated slaves as part of the community and kept family members together. When foreigners arrived to trade for slave labor, they stuffed husband and wife, mother and child, into the hulls of wooden ships for the rough ride to America behavior that set the pattern for the slaves’ mistreatment in the United States. Upon arriving in the states, slaves were sold one by one, without regard to family ties.

The authors note that the nation’s founding fathers had a similar double standard, fighting for their country’s independence even as they used slaves to work their land. Washington was not the only leader who maintained a public silence on the topic, the authors write. Add to the list the Jeffersons, the Madisons. Sadly, even those African Americans who were free men gaining that status through pardon or by fighting in the Revolutionary War were not truly free. They still were limited to living in segregated neighborhoods. Their job opportunities were minimal. They could not vote.

What breaths life into Africans in America are the stories of the individual struggles: the tale of Mum Bett, the Massachusetts slave who successfully sued for her freedom, or the endeavors of Frederick Douglass, a runaway slave who endured physical and psychological punishment as he traveled the country preaching for the equality of his race.

All told, Africans in America is an insightful account of a race’s stormy immigration to, and assimilation into America, an accompaniment that will no doubt enrich the viewing, and deepen the understanding, of the PBS TV series.

John T. Slania is a writer in Chicago.

Africans in America closes with the culmination of the Civil War. That divisive chapter in our nation’s history resulted in a new life for a race bound by slavery a new testament to the Constitution’s pledge that all men are created equal. Africans in America, therefore, is purely old testament, the painful, violent account of […]

Thi Bui's debut graphic memoir, The Best We Could Do, is a deeply affecting look at her Vietnamese family's complex journey to the very country that inflicted a lion's share of the destruction to their home region during the Vietnam War. Bui's story alternates between many time periods: the present, her childhood in California, her parents' extensive and exhausting process of attaining refugee status and their tumultuous time in Vietnam. Bui reflects on the current political climate and encourages Americans to listen to the incredible stories of refugee families like her own.

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Review by Jamie McAlister The sport (or art) of fly-fishing seems to be experiencing a revival of sorts across the country’s waterways. With movies like A River Runs Through It glamorizing the artform and a proliferation of outfitters and guides offering top-notch gear and guidance, freshly hooked fly-fishing enthusiasts are wetting lines in record numbers. Of course, every artform has its history, and fly-fishing is no exception. An avid fly-fisherman, author of more than 25 books, and self-proclaimed trout bum, Paul Schullery delves into the origins and culture of fly-fishing with a bibliophilic glee, citing a creel-full of written references of the sport from its English roots to its introduction to the New World and its subsequent spread across the continent. In addition to illustrating the actual fly-fishing techniques when the common rod was a whopping 16-feet in length, there are philosophical observations and anecdotes on the shared behavioral qualities of fly-fishing brethren. For instance, there are humorous depictions of the trout bum, someone who lives to fish in isolated streams by day and makes his home in a Volkswagen beetle the rest of the time. There are differences between the New England fly-fisherman and the Montana variety, as well as the kinds of characters one meets along the streams or in the adjacent towns. The difference between wet and dry fly evolution is illustrated with historical accounts written by the sportsmen who invented techniques still popular today. The book also covers environmental characteristics of streams where trout have lived and developed for thousands of years and how they now cope with the expansion of humankind. For the fly-fishing enthusiast who’s fished a variety of streams, creeks, and rivers, or the greenhorn just breaking in his/her new rod, Schuller’s latest work is a clarifying collection of facts and essays that connects the modern fly-fisherman with the very root of his art and sport.

Jamie McAlister is the assistant editor for the Port News and lives in Mt. Pleasant, South Carolina.

Review by Jamie McAlister The sport (or art) of fly-fishing seems to be experiencing a revival of sorts across the country’s waterways. With movies like A River Runs Through It glamorizing the artform and a proliferation of outfitters and guides offering top-notch gear and guidance, freshly hooked fly-fishing enthusiasts are wetting lines in record numbers. […]
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As a child, I clung to the myth of Santa Claus until the evidence against it finally overwhelmed me and I had to let go of it. Parents reinforce the myth by encouraging children to believe in Santa Claus, promising them that if they are good, they will be rewarded.

I desperately wanted to believe in the myth of my heterosexuality, too, and I clung to it as well. I was a very good boy—doing everything that was expected of me—and society rewarded me for it. Then one day, that myth got blown apart. The barrier between my rational thought and my unconscious desires fell, allowing both sides to blend together like colors on an artist’s palette that cannot be separated again.

I began to ask myself the question I’ve been asked by others so many times: How could you not know you were gay until you were 40?

"The more I spoke with other men about their experiences, the more I recognized the commonality of the emotional pain experienced by men who censor any word, thought or behavior that might expose their same-sex desires." 

As a psychiatrist, trained in science, I went to the literature of psychology to find an answer. However, everything I read focused on much younger men. Psychologist Vivienne Cass created the classic model of gay and lesbian identity development in 1979, about the same time I was struggling with this issue. Although she suggested that healthy men could go through the process later, the model indicated that most subjects had formed a gay identity by their mid-20s. I was already 34.

I began to meet other men, many of them married with children, who were either struggling with their sexual conflicts or were somewhat further along in the process than I was. I dug deeper into the literature but found little that discussed the transition of men from a straight identity to a gay or bisexual one later in life.

I then began to examine this transition in the context of my life. I grew up in rural Nebraska in the 1950s. During this time, gender roles were rigidly defined, and being a “sissy” meant being weak and subordinate. Senator Joseph McCarthy held hearings accusing homosexuals and communists of committing subversive acts against the government. Psychiatrists considered homosexuality a pathologic deviancy. No one I knew lived as openly gay. It wasn’t that people spoke out against homosexuality; they didn’t speak of it at all. It was as if a blackout existed on all information about any healthy expression of sexuality.

The more I spoke with other men about their experiences, the more I recognized the commonality of the emotional pain experienced by men who censor any word, thought or behavior that might expose their same-sex desires. Gay men attempt suicide at a rate three times higher than the general population, some of them multiple times, and these suicide attempts often occur at the time they make the decision to come out.

I realized this story needed telling, and I thought, “Why not tell mine?” The first step I took was to do a convenience sampling of other older gay men to validate my hypothesis that the coming out process for older men is different from that of males who came out at a younger age. My findings supported my hypothesis and encouraged me to write Finally Out.

As an older gay man, I also saw the heavy burden placed on us by the stereotypes of being older, especially being older and gay. When I heard a gay man say, “I’m 82, and this is the best time in my life,” I thought, “What does he know that I should know?” So I examined the opportunities of aging and recognized the parallels between coming out as gay and coming out as old. In both cases, developing a positive identity depends upon destroying internalized stereotypes and adopting a positive attitude about our sexuality and our age.

My hope is that some of the answers I have found will offer others insights into why some men who love other men might marry and have families, choose to come out or not, or delay coming out until midlife or beyond.

Loren A. Olson, M.D., the author of Finally Out: Letting Go of Living Straight, is a board-certified psychiatrist with over 40 years of experience. He is a Distinguished Life Fellow of the American Psychiatric Association and has been named an Exemplary Psychiatrist by the National Alliance for Mental Illness. 

As a child, I clung to the myth of Santa Claus until the evidence against it finally overwhelmed me and I had to let go of it. Parents reinforce the myth by encouraging children to believe in Santa Claus, promising them that if they are good, they will be rewarded. I desperately wanted to believe […]
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Heigh-ho, the glamorous life! goes a lyric by Stephen Sondheim, but no American popular composer has ever had a more glamorous life than Cole Porter. He may have been born in the provinces (Peru, Indiana, 1891), but he had money and charm from the start, and after a classy education at Worcester Academy and Yale, where he wrote songs for revues, he was already contributing music to Broadway shows in his early 20s. Along with his admirer Irving Berlin, he was one of only a small handful of composers complete in one package, always writing both music and lyrics. His style was therefore inimitable and unmistakable. A Cole Porter song is still synonymous with urbanity, sophistication, verve, sultry wit.

Porter’s story has been popular with biographers for more than two decades (he died in 1964), and it’s easy to see why. He was the greatest American bon vivant of his day. He traveled the world, knew all manner of nobility, was a fixture of club life in Paris and New York, hobnobbed with all the show business greats, and stayed on top in the musical theatre world for 30 years. Even after a horse-riding accident in 1937 shattered both his legs, crippling him and leaving him in pain for the rest of his life, he kept on taking the revenge of living well. He always knew how and where to have the best possible time.

Like his predecessors, William McBrien is fascinated with the shining surfaces of Cole Porter’s life and doesn’t delve deeply into his subject’s psychology. Today, of course, we can forget the fiction of Night and Day, the movie biography of Cole and Linda Porter’s marriage, and McBrien nonchalantly discusses Porter’s numerous homosexual liaisons. What really gives his book vivacity, however, is his attention to the social personalities of those who buzzed around the Porter hive. We meet such legends as Elsa Maxwell and Ethel Merman as well as the nimble Fred Astaire and the dapper Noel Coward (who, as another recent book showed, was Porter’s soul-mate). From chapter to chapter we are at Broadway openings triumphs and bombs and it is an exhilarating tour. Photographs abound to illustrate these events. Perhaps best of all, McBrien never forgets Porter’s real achievement his songs. Throughout he quotes at delicious length from the best, the cleverest and most affecting lyrics Porter wrote. He even uses lyric lines as chapter titles: Take Me Back to Manhattan, I’m in Love with a Soldier Boy, Down in the Depths. All those who love the standards of American popular song will delight in seeing these great lyrics again, in noting the fine light poetry they are. Readers will want to go out and rent Kiss Me, Kate or High Society, the two ’50s movies that showcased Porter’s last great composing phase. In the latter Porter wrote of what a swell party it was, and most of this biography leaves the same impression.

Heigh-ho, the glamorous life! goes a lyric by Stephen Sondheim, but no American popular composer has ever had a more glamorous life than Cole Porter. He may have been born in the provinces (Peru, Indiana, 1891), but he had money and charm from the start, and after a classy education at Worcester Academy and Yale, […]
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Review by Michael Breen The first thing that will strike you after reading No Heroes is the irony of its title. Heroes fill the pages of this book, men and women doing a dirty, dangerous, and often thankless job for little reward. Their quarry are people who have no respect for the government or its laws, and view law enforcement officials as nothing more than targets. Danny Coulson is one of these heroes, a 31-year FBI veteran, serving in numerous roles including the first head of the Hostage Rescue Team (HRT). Though Coulson did go after bank robbers and drug dealers, the heart of this story is the conflict between the FBI and those who rejected the government and used violence to forward their goals. Coulson discusses several anti-government groups, from the black revolutionaries of the 1960s and ’70s to the white supremacist groups of today, and vividly describes the struggle against these forces. It is a deadly contest, one made more difficult by the government’s unceasing efforts to use lawful and non-violent means against opponents who had no such restrictions.

But the struggle against the forces of crime and terror is only half of this story. Coulson also describes the conflict within the Bureau itself. This second war is one of doers vs. drivers. Drivers were those who worried more about rules, their reputations, political maneuvering, bureaucratic infighting, and spelling errors than catching lawbreakers. This tension is a constant in the book, beginning with the ossified late Hoover era administrators and ending with the finger-pointing after the Ruby Ridge debacle. Coulson shows numerous occasions where the drivers’ shortsightedness led to problems and even risked lives. Coulson’s portrayal of his stresses and their cost is powerful, though his writing style may be a little rough he is, after all, first and foremost an FBI agent. But it is this raw voice of experience that makes the book so gripping. Not only a tale of stakeouts, investigations, and sieges, it is a story that engenders a greater appreciation of those who are on the front lines of the war against terrorism.

Michael Breen is a reviewer in Lawrence, Kansas.

Review by Michael Breen The first thing that will strike you after reading No Heroes is the irony of its title. Heroes fill the pages of this book, men and women doing a dirty, dangerous, and often thankless job for little reward. Their quarry are people who have no respect for the government or its […]
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Review by Eliza R. L. McGraw Unsurprisingly, Philip Hamburger’s collection of essays from his years at the New Yorker is dedicated to Harold Ross, the curmudgeonly and astute editor who presided over the tenures of such New Yorker writers as James Thurber, E.B. White, and, of course, Hamburger.

Hamburger is in many ways a true Ross production, the kind of writer that made the New Yorker legendary. Friends Talking in the Night delightfully collects his best and most varied moments, from profiles to movie reviews.

Ever the New Yorker himself, Hamburger comments on the mayors of Gotham from the vantage point of his apartment across the street from Gracie Mansion in his 1953 essay, Some People Watch Birds. He writes that Fiorello LaGuardia was the busiest of our recent mayors and he spent, for a mayor, an inordinate amount of time at City Hall. Thanks to this perversity, I didn’t see as much of him as I would have liked. Hamburger’s comments on world affairs are equally as detailed as those on Gracie Mansion, but naturally graver. In Milan during Northern Italy’s 1945 liberation from Fascism, Hamburger stood in the Piazza Loreto as war criminals were executed: There were no roars of bloodcurdling yells; there was only silence and then, suddenly, a sigh a deep, moaning sound, seemingly expressive of release from something dark and fetid. Such serious events evoke Hamburger’s more somber tone, providing balance in the collection between his lighter work and his comments on global events.

Any student or lover of writing who leafs through Friends Talking in the Night may have a similar response to the one Hamburger had while watching Jimmy Stewart’s 1955 performance in High Noon: The mules know that no ordinary actor has hold of the reins. They know when a star has hold of the reins, and their ears go up. I’ve seen it happen a hundred times.

Eliza McGraw is a graduate student in English in Nashville, Tennessee.

Review by Eliza R. L. McGraw Unsurprisingly, Philip Hamburger’s collection of essays from his years at the New Yorker is dedicated to Harold Ross, the curmudgeonly and astute editor who presided over the tenures of such New Yorker writers as James Thurber, E.B. White, and, of course, Hamburger. Hamburger is in many ways a true […]

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