Emphasizing personal style, Joan Barzilay Freund’s Defining Style is a freeing, inspiring and extremely innovative look at interior design.
Emphasizing personal style, Joan Barzilay Freund’s Defining Style is a freeing, inspiring and extremely innovative look at interior design.
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During the dog days of last summer, as the national press corps went baying after the elusive Gary Condit, New York Times foreign affairs columnist Thomas Friedman wrote a piece called "A Memo from Osama." Entertaining, ironic and caustic in the same instant, the "memo" warned of the consequences of a U.S. failure to respond to "the threat that already exists." The name of that threat, unfamiliar to most Americans at the time, would become a household word in a few short months.

After the horrific attacks of Sept. 11, this and several other pre-9/11 columns included in Friedman’s new book, Longitudes and Attitudes: Exploring the World After Sept. 11, seem shockingly clear-sighted and prescient. They offer glimpses into the future that seem to surprise even Friedman himself. "Man," he says, sounding bemused, "there are lines in those columns that are prophetic. In terms of what happened, I was paying attention."

Since Sept. 11, as regular readers of his twice-weekly column know, Friedman has, if anything, been paying even closer attention. "I’ve been on a really unique journey," he says. "I’ve been to Pakistan twice, to Afghanistan, Iran, Indonesia, Saudi Arabia, United Arab Emirates, Bahrain, Jordan, Israel."

Probably no one else—journalist or diplomat—has pursued the complex threads of this story as relentlessly as Friedman. In fact, when we speak by phone, Friedman has just returned from Tehran, Iran, where he was exploring one of the recurring themes of this collection—the need to wage and support a war of ideas in the Arab Muslim world.

"I really try to get the point across that when we start calling people the ‘Axis of Evil,’ we miss the complexity of these societies and the number of potential partners we have inside these societies who share our world view," he says."We have to make sure we’re inviting these people into our future. Ideas matter. We can kill bin Laden, but somebody’s got to kill bin Ladenism. Somebody’s got to kill the ideas that not only nurture him, but create an environment in which so many people tacitly support him. We can help, but ultimately the Arab Muslim world has to do that itself."

As a result of such views—as well as his years of experience in the Middle East, first as a reporter for UPI and then for The New York Times—Friedman "gets a huge amount of email from the Arab Muslim world." Parts of those messages he reprints in the third section of Longitudes and Attitudes. That section is comprised of a series of diaries he kept between September 2001 and June 2002. The diaries make for fascinating reading because they contain anecdotes and analysis Friedman was unable to include in his regular columns, offering a behind-the-scenes look at issues Friedman is writing about and personalities he meets.

One of the surprises in these diaries is how many of Friedman’s contacts and correspondents are Muslim women. Another is the pointed description of a little power play by Secretary of Defense Donald Rumsfeld that very nearly leaves Democratic Sen. Joe Biden and Friedman stranded at Bagram airbase in Afghanistan. Still another is an eye-opening portrait of the new Russia.

But most interesting of all—in the diaries and in the collected post-Sept. 11 columns that form the bulk of this book—is Friedman’s probing examination of Saudi Arabia. Probably the most important question motivating Friedman’s unique journey during the last nine months has been why 15 young Saudis were involved in the terrorist attacks of Sept. 11.

"The Arab Muslim world is going through a hard time," he says, "and I have a lot of sympathy for them. They’re struggling with, and in some cases failing at, modernization. That’s because of three deficits that have been building up there for more than 50 years. I’m quoting here from a U.N. study that’s just come out that says it’s a deficit of freedom, it’s a deficit of education and it’s a deficit of women’s empowerment. Thanks to these three deficits they’ve dug themselves a really deep hole."

The dark side of all this, Friedman writes in his diaries, is that it leads to what he calls the "Circle of bin Ladenism, which is made up of three components: antidemocratic leaders, who empower antimodernist Moslem religious educators to gain legitimacy, who then produce a generation of young people who have not been educated in ways that enable them to flourish in the modern world."

Opinions like this—and equally direct criticism of actions by President Bush, Ariel Sharon and Yasir Arafat—have earned Friedman some powerful detractors. About this, Friedman is philosophical: "Being a columnist is not a friend growth industry. If you’re going to do this job, you have to pull the trigger on people, sometimes on people you like. If you’re not ready to do that, readers can smell it at a hundred paces. . . . A column is like currency, and you can really debase your own currency. I guard zealously the integrity and quality of the column every bit as much as the secretary of treasury does the integrity and quality of the U.S. dollar."

So while his critics may have grown more vociferous, Friedman’s popularity has also grown and changed since Sept. 11. "Before 9/11 the CEO read me; now his secretary reads me, too," he says. "Twice I’ve had bicycle delivery boys stop me on the street in Washington and comment on something they’ve read in my column. . . . This is not in any way exclusive to me. After 9/11, Americans understand that foreign policy is now a real life-or-death matter. It’s about the world their kids are going to grow up in, and as a result, they want to know what’s going on."

And, according to Friedman, what’s going on remains pretty dark. In his first column after Sept. 11, 2001, Friedman called the attacks the beginning of World War III. Although personally an "innate optimist who is constantly looking for solutions," Friedman stands by his initial assessment.

"Some big events, over time, end up being smaller than they first seem," he says. "My view is that 9/11 will turn out to have been bigger than it first seemed and it seemed—pretty big to begin with. It is a huge event in terms of the degree to which it will change our habits, our politics, international relations and the long-term internal discussion in the Arab Muslim world. As I say in the diaries, on 9/11 a wall of civilization was breached that we could not imagine would ever be breached. And the long-term implications of that are just enormous."

Alden Mudge writes from Oakland, California.

During the dog days of last summer, as the national press corps went baying after the elusive Gary Condit, New York Times foreign affairs columnist Thomas Friedman wrote a piece called "A Memo from Osama." Entertaining, ironic and caustic in the same instant, the "memo"…

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She can be tough in court, but in conversation, Judge Leslie Crocker Snyder is light-hearted, quick to laugh and more inclined to explain her views of the law than proclaim them as absolutes. In her nearly 20 years on the bench, the Manhattan Supreme Court justice has clashed with some of New York City's wiliest and most menacing desperadoes. Death threats have become a routine part of her job.

While Snyder's 25 To Life, co-written with Tom Shachtman, is essentially autobiographical, it's also a lucid and example-filled study of how the criminal court system works. Snyder tells of overwhelming case loads, judges more interested in efficiency than justice, good cops and bad cops and an endless procession of defendants rapists, murderers and drug lords who are, in her estimation, pure evil." In her determination to combat such evil, Snyder has earned a fearsome reputation, principally for levying long prison sentences.

The daughter of a distinguished professor of French literature and philosophy, Snyder grew up in Baltimore. She graduated from Radcliffe College (which she entered at 16) and went on to study law at Case Western Reserve at a time when women lawyers were still comparatively rare. After a false start at a white shoe" firm in New York (which she found boring), she joined the Manhattan district attorney's office (which she found infuriatingly sexist). Even so, it was still a bastion from which to bust the bad guys. Snyder worked her way steadily up the prosecutorial ladder, before becoming a criminal court judge in 1983.

The first time she decided to pronounce a 25-to-life sentence, Snyder recalls in her book, she retreated to the privacy of a bathroom to mull over the gravity of what she was about to do. Soon, however, she was past the agonizing. It never got easy," she says, but it got a lot easier, and I'll tell you why. Most of the cases in which I've given out these high sentences were for people who had been involved in multiple murders or murder and rape or multiple sex crimes, or they were the heads of drug gangs who'd delegated other people to kill or torture. So as the cases became more and more serious, it did become easier to hand out time of that kind. If someone is involved in killing 40 people, I really don't lose any sleep." Near the end of the book, Snyder reveals a more contemplative, less punitive side as she argues for alternative sentencing, that is, coming up with custom-tailored plans of punishments and rewards to help steer youthful offenders away from committing additional crimes.

Her many years on the bench, Snyder says, have generally reinforced her respect for the wisdom of juries. I have a lot of faith in the jury system. Every once in a while, frankly, it's dashed, like in the O. J. Simpson case, which I thought was a travesty of justice, I don't mind saying. But in most cases, I think juries reach just results. In [all my time as a judge], only once can I think of a verdict that I thought was absolutely ludicrous." Snyder swears that her book's truculent title has only one purpose. It's just meant to be catchy," she says. The maximum sentence for an A-1 felony in New York is 25 to life, and [the publisher] always wants you to come up with something dramatic. One day I'm sitting around early on in the book process and I'm with one of my kids and my husband, and I'm saying, ÔGee, you know, I need a dramatic title.' So my son pipes up and says, ÔHow about 25 to Life.' My husband and I look at each other and, suddenly, we go, ÔThat's great!' " In spite of being obliged to deal with human viciousness and misery day in and day out, Snyder voices no regrets. It's been a very exciting, interesting career," she concludes. I feel that it's been a constructive career, that every day when I get up I'm doing something worthwhile."

She can be tough in court, but in conversation, Judge Leslie Crocker Snyder is light-hearted, quick to laugh and more inclined to explain her views of the law than proclaim them as absolutes. In her nearly 20 years on the bench, the Manhattan Supreme Court…
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To the winners go the sports biographies; to the losers go the deathly quiet locker rooms, the self-flagellation, the proverbial kiss from your sister. As a result, we know a whole lot more about the thrill of victory than the agony of defeat.

Pat Conroy didn't set out to rectify that inequity by writing My Losing Season, a painfully detailed memoir of his senior year on the 1966-67 Citadel Bulldogs basketball squad that soldiered through an ignominious 8-17 season. Call it a requiem for all the runners-up who, like Conroy, turned defeat on the playing field into victory in other aspects of their lives.

As a fast, street-hardened 5-foot-10 point guard, Conroy was a fiery competitor who always believed he could play above his physical limitations and frequently did. Like his teammates, Conroy didn't lose well. Unlike the others, however, he found a way to learn something from each defeat that would make him a better ballplayer.

His steely resolve in the face of such a spirit-crushing season ultimately gave him the self-confidence to become one of America's best-loved writers. If losing builds character, Pat Conroy is your poster boy for also-rans.

"What was for these guys the worst year of their lives was in many ways the best year of my life," Conroy says by phone during a seaside vacation in Maine. "It was certainly the year I found myself, found out who I was and what I was going to do. And found belief in myself, which I don't think I ever had before that year."

Conroy was at a personal low point in 1996 when a former teammate stopped by his Dayton, Ohio, book signing for his most recent novel, Beach Music. On the cusp of the big 5-0, the author was in the middle of a messy divorce and seriously contemplating suicide ("I have a history of cracking up at least once during the writing of each of my last five books," he admits).

Somehow, reminiscing about glory days, even of such an inglorious season, seemed to lift his spirits. "The one thing I knew about basketball, despite how hard that year was, is that nothing has ever brought me joy like playing basketball," he says.

Conroy spent the next year dropping in on his former teammates, picking their memories to reconstruct a season most had worked hard to forget. Playing under a tyrannical old-school coach had spoiled the game for many of them; few had even bothered to stay in touch after graduation. "I ruined their lives reliving this. They were in agony talking about this year!" he says, letting loose his distinctive Irish chuckle.

For Conroy, however, even a dysfunctional team had been a welcome respite from the desensitizing plebe system at The Citadel and a horrific upbringing under his abusive father, the tough-as-nails Marine fighter pilot who inspired The Great Santini (1976).

As unpleasant as the forced march through Palookaville had been for his teammates, it paled in comparison to their apprehension at actually appearing in one of Conroy's books. After all, here was the guy who had rather spectacularly alienated his family with The Great Santini and The Prince of Tides (1986), and lobbed a literary grenade at his alma mater with The Lords of Discipline (1980).

"None of them have read a word of [My Losing Season]," he admits. "It tickled me, they were so terrified of it. (Mimics locker room chat) 'Look what he did to his f—-ing school!' 'School? Look what he did to his old man!' Their wives are scared to death."

They needn't be. All of the Bulldogs come off as stouthearted and true, if considerably browbeaten by circumstance.

One memory from that long-ago campaign left Conroy speechless:

"I remember the East Carolina game as being the first game Mom and Dad ever saw me play college basketball. It was a big deal for me. And all I remember was how it ended up, with Dad putting me against the wall saying, 'You're s—-, son. Your team is s—-, your coach is s—-, you couldn't hold my jock on your best day.' It was a horrible scene, and I was 21 then, I wasn't a kid anymore.

"To go back to that game and find out I scored 25 points stunned me; I had assumed I'd scored two or three. It shocked me. I scored more points than anybody on either team. And when I wrote that, when I saw the box score, I said, I had a father who couldn't be proud of a son who scored 25 points in a college basketball game. What could I have done to earn the respect of that son of a bitch? It simply amazed me."

Equally amazing, Conroy reconciled with his father before the real Great Santini died in 1998.

"Yeah, we did. I was surprised. I hated him so badly when I was a child and when I was in college that I thought I would never speak to him again after college. It shocked people when we became friends," he recalls.

Conroy's life has taken a happier turn in recent years. At 56, he's married to fellow writer Cassandra King, whose first novel, The Sunday Wife, was published by Hyperion in September. They live on Fripp Island near Beaufort, South Carolina, the setting for most of his novels and the one place on earth Conroy considers home. He's hard at work on his next novel, set in Charleston and the mountains of North Carolina.

Though he wouldn't want to relive it, Conroy says the trials of his youth helped him withstand the barbs of critics.

"I always tell myself, would I rather get a bad review in The New York Times or report to my First Sergeant's room after evening mess? The answer is always the same. I think that being beat up as much as I was during my childhood is a great preparation for being a writer. To be a writer in America is a contact sport. You've got to be tough."

Jay Lee MacDonald is a writer based in Naples, Florida.

To the winners go the sports biographies; to the losers go the deathly quiet locker rooms, the self-flagellation, the proverbial kiss from your sister. As a result, we know a whole lot more about the thrill of victory than the agony of defeat.

Pat Conroy didn't…

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Among the recurrent refrains that lend power and poignancy to writer Jim Harrison’s magnificent literary memoir, Off to the Side, is the phrase "it could have been otherwise." More a question, really, than an assertion, the phrase is sometimes colored by regret and other times by amazement.

"I thought, frankly, that it would be more pleasant to write a memoir than it was," Harrison says from his home in Montana, where he has recently moved after living some 60 years in northern Michigan. "I once wrote in a poem about reaching the point in life when I would have the courage to admit my life. There were some rough spots, as you probably sensed reading the memoir, especially in my early married years, when I simply had no idea what I was doing or how to support myself. During that most difficult period of 10 years, our house payment was $99 a month, but quite often that was hard to muster."

Harrison’s financial picture changed dramatically with the publication in 1978 of his brilliant novella Legends of the Fall. David Lean wanted to film the title story and John Huston wanted to film another narrative in the collection. Harrison went from barely supporting his wife Linda and their two daughters to making "well over a million bucks in contemporary terms." He was utterly unprepared. "My life quickly evolved [into] a kind of hysteria that I attempted to pacify with alcohol and cocaine," Harrison writes in the memoir.

Harrison believes it was the devotion to his calling as a poet and fiction writer that kept him from going over the edge. When asked about this, he quotes his long-time friend, writer Thomas McGuane, who told him, "you can’t quit or control anything until it gets in your way. But when it gets in your way, you control it or remove it. You don’t really have the freedom to continue because it is getting in the way of the main trust of your life."

The intensity of Harrison’s devotion to the main trust of his life—his writing—is evident in both the memoir and in conversation. "It’s a religious calling in a sense," he says. "The trajectory started when I was on the roof of our house looking out at a swamp when I was 19. I had written for several years, starting at about 15, but that day on the roof I took my vows and acknowledged my calling."

For Harrison, part of what his calling demands is an intense curiosity about both the internal and the external lives of people. "I asked a French critic a couple of years ago why my books did so well in France. He said it was because in my novels people both act and think. I got a kick out of that," Harrison says, and then adds, "I read a lot of memoirs to see how people did it a couple of years ago. A lot of them are too full of whining and they pretend they didn’t have a philosophical, mental or spiritual life and just describe what happened. I couldn’t do that."

Lucky for us. What emerges in Off to the Side, is about as complete a portrait of the inner and outer Jim Harrison as one could hope for. He writes about the lasting influence of his parents and grandparents and their hard-nosed Scandinavian values (despite some years of hard living, his "essential Calvinism made it unthinkable to be late for work, miss a plane, fail to finish an assignment, fail to pay a debt or be late for an appointment"). He describes losing the vision in his left eye at age 7 when a neighbor girl shoved a broken bottle in his face. He writes about the liberation of striking out on his own during the summer between his sophomore and junior years in high school; about the confusion of a short-lived academic career; about the deaths of his father and sister in a car crash and his mistake of peeking at the coroner’s photos. "When my father and sister died I figured if those you love can die like that, what’s the point of ever holding back anything," he says.

With insight and a dash of humor, Harrison catalogs his seven obsessions: alcohol; stripping; hunting, fishing (and dogs); religion; France; the road; and nature and Native Americans. And he describes his experiences writing for the movies, a sometime profession that supported his fiction and poetry and led to friendships with Jimmy Buffet, Harrison Ford and Jack Nicholson, among others.

Harrison says Jack Nicholson, who remains a friend, "was a good teacher on how to handle that reality. There’s simply no other actor or actress that I know who handled it better and kept control. He would just simply never be on television. He thought of it as the enemy. It uses you up. The sad thing you see over and over again is how people who suddenly become famous’ get used up so fast and discarded."

At this point in his life, Harrison has no fear of being used up himself. "I’ve retreated so far from that kind of life," he says. "And," he adds, referring to a new novel he has begun working on, "I have something to write."

Harrison says he decided to call his memoir Off to the Side "because that is a designated and comfortable position for a writer." Throughout the memoir he mentions his lifelong need to hide out, at least metaphorically, in thickets, to be where he can look out and see but not be seen. He also notes that "nothing is less interesting . . . than the writer in a productive period."

But in conversation Harrison asks, "Do you ever read Rilke? He says only in the rat race can the heart learn to beat. So I guess I just vary between the antipodes of hiding out in my cabin and being anywhere—New York, Paris or Hollywood." He laughs, then adds, "A writer friend who has read the memoir asked, How did you manage to do all that?’ And I told him it was inadvertent. I was just leading with my chin."

Among the recurrent refrains that lend power and poignancy to writer Jim Harrison's magnificent literary memoir, Off to the Side, is the phrase "it could have been otherwise." More a question, really, than an assertion, the phrase is sometimes colored by regret and other…

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As the holiday season approaches, our thoughts turn inevitably toward the task that some of us dread and others relish— Christmas shopping. (If you've ever wandered aimlessly through a mall on Christmas Eve wondering what to buy for Aunt Edna, you're in group number one.) Shopping has become a huge part of the holiday, and indeed a big part of everyday life for America's conspicuous consumers.

In his timely new book, I Want That! How We All Became Shoppers, writer Thomas Hine takes readers on a journey through the history of shopping. Despite its whimsical title, Hine's book isn't a light-hearted look at the joys of consumerism, but a serious cultural exploration of how and why we collect things.

A writer for Philadelphia magazine and the author of four previous books, Hine recently answered questions for BookPage about shopping, self-indulgence and the meaning of holiday gift-giving.

BookPage: Why don't men enjoy shopping as much as women do?
Thomas Hine: About two thirds of women and about one third of men say they enjoy shopping. The reason women like it more, I suspect, is because they see it as a way of exercising power and responsibility. Shopping is a big part of the womanly job that emerged among the 19th century middle class of creating the circumstances of family life: what your house will look like, what your children will wear, and what everyone eats. Women have been brought up to see this as powerful. Men often see such tasks as an imposition, one that gets in the way of doing things that are real and productive.

Probably my favorite fun fact that came from my research is that if men and women are placed on treadmills, men will walk faster. But if they are placed in a mall, women walk faster. That's because she knows where she's going. She has something to achieve. He'd rather be somewhere else.

What qualities make a "good" shopper?
A good shopper exhibits the same combination we find among the gatherers of the Kalahari: clear focus combined with openness to opportunity. Shopping often involves paying attention to many things at the same time. That means not just a vast array of merchandise, but also children and other shoppers. Marketplaces have always offered the opportunity to find out what's going on in one's village or culture. Good shoppers take what they do seriously.

Why do we buy things we don't need?
Who says we don't need it? That's a serious question. Our neighbors' and relatives' extravagance is a lot easier to see than our own. The person ahead of me in line at the cash register always seems to be buying something unnecessary and ridiculous, while my purchases are absolutely necessary.

Insecurity plays a big role in shopping decisions. We are more likely to buy when we fear that, if we don't, we'll miss a great opportunity. Everyone loves a sale because it's an opportunity to consume, and at the same time feel righteous for having saved so much money. Many purchases that go unused were seen, for a moment at least, as rare opportunities, too good to miss.

Is shopping strictly a self-indulgent activity?
Occasionally, and especially when on vacation, everyone goes on a binge of self-indulgent purchasing. But most of the time, shopping is not so much a self-indulgent activity as a self-defining one. You are what you eat, what you wear, where you live, what you sit on and sleep on, and what you buy to make you feel better. For wives and mothers, and some husbands and fathers, it is also a family-defining activity, one of the ways in which we nurture those we love.

You argue that shopping hasn't destroyed the power of Christmas, but can actually be part of enhancing the spirit of the holiday. How is that possible?
Festivals involving gift exchange happen in all cultures. Gifts create and reinforce ties and obligations between people. They are a way of channeling consumption in ways that bring people together. Gift-giving to reinforce family and social ties is not an appendage to the Christmas holiday. It is the center of it.

Are you a last-minute holiday shopper yourself or the type who plans ahead?
I suppose I am a typical man in that Christmas always seems to take me by surprise and throw me into a state of acute anxiety. Studies show that women start shopping sooner than men, spend less per gift, and are satisfied with the result. One peculiarity of Christmas is that it doesn't offer a good role for the man; even in the Gospels, Joseph is a sort of by-stander.

What's the best Christmas gift anyone has ever bought you?
Socks. I can always use socks.

 

As the holiday season approaches, our thoughts turn inevitably toward the task that some of us dread and others relish— Christmas shopping. (If you've ever wandered aimlessly through a mall on Christmas Eve wondering what to buy for Aunt Edna, you're in group number one.)…

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One day in 1995, journalist Paul Hendrickson, then a reporter for the Washington Post, found himself standing in Black Oak Books in Berkeley, California, where he was thumbing through a volume called Powerful Days: The Civil Rights Photography of Charles Moore. One particular photograph grabbed Hendrickson's attention, filling him with a sense of history, awe and, ultimately, an absorbing curiosity that would drive him to spend nearly seven years researching his latest book, Sons of Mississippi: A Story of Race and Its Legacy.

Technically, Moore's candid black-and-white photo is fairly unremarkable. But its subjects—seven Mississippi sheriffs gathered on the campus of Ole Miss on Sept. 27, 1962, on the eve of the federally enforced enrollment of the school's first African-American student, James Meredith—evoked in Hendrickson a deep desire to investigate their lives and to re-examine a tumultuous era in a region infamous for its segregation and bigotry.

The seven men were the leading state law officers of their time. In the photo, they are gathered together affably, chortling amongst themselves, cigarettes clenched between their teeth, their eyes focused on Billy Ferrell in the center, who appears to be demonstrating the proper way to swing a riot club. Ostensibly, the men had arrived in Oxford to assist in preventing Meredith from entering the university.

"The picture stopped me in my tracks," says Hendrickson, speaking from Philadelphia, where he now teaches creative writing at the University of Pennsylvania. "These men are not terrifying. They're not dressed as Klansmen. Take away the bat and the malevolent grins, and these are men who have risen above their families' blue-collar factory backgrounds."

Hendrickson, a white man born in California and raised in Illinois, had also spent some time as a young man in the late 1950s and '60s in Alabama, where he was studying at a seminary and considering a vocation to the priesthood. "I saw segregation. I saw apartheid. That never left me." Without question, the faces of the men in Moore's photograph transmit an eerie energy, conjuring fearful notions of white supremacist, redneck-style law enforcement in the Deep South, with all its attendant paranoia, provincialism and brutality. The photo became the springboard not only for Hendrickson's powerful history of civil rights but also for his investigation into what happened to these archetypal Southern good ol' boys and their families. So the author went to Mississippi.

"No sense going to the South if you don't go to Mississippi," says Hendrickson. "I get excited about Mississippi the grace, the manners, the food, the beauty of the landscape. It gave us both Faulkner and appalling racism. It is the most literate and the most illiterate state." Hendrickson followed the small-town trails of his subjects, most of whom were dead. He interviewed contemporaries and family members. He combed through newspaper archives and government reports. On a firsthand basis, he was able to speak to Ferrell (who has since died) and John Ed Cothran, who as a deputy sheriff played a role in the case of the 1955 murder of 14-year-old black Emmett Till, a signature event in the history of the civil rights movement.

As it turns out, being a sheriff was only a sometime thing for most of the seven. They moved on to other businesses, married and remarried, battled alcoholism, died young or from debilitating cancers in short, lived apparently unremarkable lives. All of them, however, were presumed to have had some involvement with the Ku Klux Klan, though gathering direct evidence often proved elusive.

"You humanize each individual life," says Hendrickson, "and each seems to be a mixture of all of our own lives. Underneath the bad beliefs, there's a kind of ordinary normalcy." Besides focusing on the sheriffs and their families, Hendrickson also offers profiles of photographer Moore (now almost 70 and living in northwest Alabama) and James Meredith (also near 70, living in Jackson).

And what of the Mississippi legacy? Is it hopeless? Is the bigotry still there? Hendrickson speaks with cautious optimism. "What I found are blades of hope. I found changes, but they are like tender shoots of grass in the spring susceptive to quick trampling or reversal." Previously a finalist for both the National Book Award and the National Book Critics Circle Award, Hendrickson should be headed for more acclaim with this amazing book, which is characterized by historical scope, sociocultural depth, journalistic integrity and an astonishing ability to reveal universal truths via very particular people and events.

 

One day in 1995, journalist Paul Hendrickson, then a reporter for the Washington Post, found himself standing in Black Oak Books in Berkeley, California, where he was thumbing through a volume called Powerful Days: The Civil Rights Photography of Charles Moore. One particular photograph grabbed…

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