A Report from the Field: Astoria, New York

March 16, 2010
Astoria, New York

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Courtesy of New York City Big Reader Tahir Ahrshad, here’s  a report (and photo)  from the field on Goodwill Industries’ Big Read of F. Scott Fitzgerald’s The Great Gatsby:

Young readers from more than 20 community sites from all five boroughs of New York City took part in The Big Read/Beacon Spelling Bee sponsored by Beacon (Community Center) 141, one of the partners for Goodwill Industries’ Big Read. At the New York Hall of Science, 50 students courageously competed for a brand new Apple Macbook laptop and an ipod Nano in front of a crowd of 200 people. This event generated immense interest for our upcoming events, which include a citywide online book club and student film festival. Nearly 200 copies of the novel as well as the Big Read support material were distributed. Alexander Ng of the Beacon 190 program and Aruba Asad of the Beacon 172 program were the first and second place winners, respectively.

Visit the website to discover more about Goodwill Industries’ Big Read or to locate a Big Read project near you.

A Report from the Field: Fresno, California

March 15, 2010
Fresno, California

A pioneer of The Big Read, California’s Fresno County Public Library has hosted multiple Big Read projects since receiving a 2006 pilot phase grant to read, discuss, and celebrate Harper Lee’s To Kill a Mockingbird. This time around, the library’s tackling  Ray Bradbury’s Fahrenheit 451. Here’s an update from Roberta Barton, the library’s public information officer, on how Fahrenheit’s faring in Fresno.

Here are a few photos from Fresno County’s costume rehearsal of the theatrical staging of Fahrenheit 451 as adapted by Bradbury in the 1970s.  The performance is directed by S. Eric Day and presented by the California Public Theater and the Woodward Shakespeare Festival (WSF).  The festival has a longstanding partnership with the library to present reader’s theater productions at our branches for all of our Big Reads.  In the off-Big Read season, WSF brings the Bard’s works (of course!) to our branches.  Reader’s theater is a dramatic presentation of a written work in script form.  Set design is very mininal.  The actors read their lines aloud from the script and focus on reading with expressive gestures and voices.  Our patrons have turned out in impressive numbers to enjoy these performances.
 
 

 

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Pictured in the photos are Luis Ramentas (right) as Chief Beatty, Matt Otstot (left) as Guy Montag, and Jessica Knotts as Mildred Montag. (Photo by J. Bedford Productions)

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Luis is a producer at our local ABC-30 affililate (which is also our Big Read television sponsor), and Matt has also been a reporter for local television stations.  Luis produced our wonderful Big Read PSA last year too. (Photo by J. Bedford Productions)

Visit The Big Read calendar to learn more about Big Read activities taking place in Fresno and in other cities and towns across the country.

 


Report from the Field: Woodstock, Georgia

Woodstock, Georgia
March 9, 2010

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Taryn Chidebelu-Eze in character as Calpurnia at Towne Lake Arts Center’s To Kill a Mockingbird tea. Photo courtesy Towne Lake Art Center.

Towne Lake Arts Center in Woodstock, Georgia, recently hosted a Big Read of  Harper Lee’s To Kill a Mockingbird. In the essay below actress Taryn Chidebelu-Eze, who appeared in a local stage production of Mockingbird, recounts an emotional experience she had at a Big Read event. (Reprinted with permission from The Cherokee Tribune, Sunday February 28, 2010)

I have just been through one of the most emotional and humbling experiences in my lifetime. My name is Taryn Chidebelu-Eze, and I’m an actress with the Towne Lake Arts Center of Woodstock. I’m currently involved in the Arts Center’s production of Harper Lee’s To Kill a Mockingbird.  In order to promote the show in the community, some of the members of the cast went to the local tea room, Tea Leaves & Thyme, to sit and have tea with the guests while in character. We were to act as though we were plucked from Maycomb, Alabama, circa 1935 and placed in Woodstock, Georgia, in 2010.

The character I played was Calpurnia, Atticus Finch’s African- American housekeeper and caregiver to his two children. At my suggestion (because my directors would never), I was seated alone at a table that was labeled “Colored Only” to create a more authentic experience. I wanted to place myself in the shoes of my not so distant ancestors. I had no idea what to expect. I didn’t expect to feel so alone as I listened to conversations around me and no one would talk to me.

The actress who played Miss Stephanie sat with a table full of twelve-year-old Caucasian girls celebrating a birthday. The girls were very much engaged and enjoyed explaining modern gadgets such as cell phones, iPods, Wii, and computers to Miss Stephanie. Their conversation seemed very lighthearted until I heard one of the children say, “We don’t put African-American people in a different section. That’s not right!” Then it seemed that the floodgates opened for the entire table to say what they were thinking. The comments I heard were, “We go to school with African-Americans.” “They’re our friends.” “The only thing different about them is their skin. We’re all the same.” “In the year 2010, the president of the United States is African-American.” One girl even asked Miss Stephanie, “Did you ever ask an African-American how they feel about being treated like that?”

At this point, I was facing the wall because I didn’t want the entire tearoom to see me crying. I’d spent the most of the time in silence as my character would truly only interact with Scout, making a fuss over her, making sure she was minding her manners and generally not embarrassing Mr. Finch. I didn’t have anyone with whom I could socially interact and anyone who knows me knows that that is the opposite of who I am. Not being allowed to speak or be spoken to was utterly stifling. So when I heard those girls speak up for me, I was moved to tears.

After thoroughly giving Miss Stephanie the “411″ on 2010, the birthday girl at the table turned to me and said, “Miss Calpurnia, in 2010 we have an African-American president. He’s the first.”  She then launched into an explanation about how on the Nintendo Wii, “You can make a Mii. And it comes in all different skin colors.”

It started off as an ordinary day and turned into one that I will never forget. In To Kill a Mockingbird, there is a part where Atticus explains to his children, “You never really understand a person until you consider things from his point of view. . .Until you climb into his skin and walk around in it.” When I walked out of that tea room, I truly understood.

WHY READ?

March 2, 2010
Washington, DC

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A window display at C&S Bookstore in Forest Park, Illinois, set the stage for the Big Read panel discussion by local writers on Poe’s influence on the mystery genre. Photo courtesy of Oak Park Public Library

Based in Lisle, Illinois, writer Luisa Buehler pens a mystery series featuring amateur sleuth Grace Marsden.  Last fall, as part of Oak Park Public Library’s Big Read, Buehler joined three fellow mystery writers for a (costumed!) panel on the influence of Poe on their writing. Here she shares how a childhood move to the Chicagoland suburbs initiated her into the mysteriesof the community library.

I didn’t know libraries existed outside of the school building until I was ten years old.

My early years on the west side of Chicago lacked books and reading.  My father worked in a factory. My mother came to America from Italy in the late forties; she was a war bride.  She spoke no English which was okay in an Italian neighborhood and an Italian household where Nonna Santa (my grandmother) spoke only Italian as well.  When I came along I spoke Italian and gradually learned English from my older brother who went to school. My father read the newspaper all the way through (and you didn’t mess with it and get the pages out of order).

Nonna Santa was a wonderful storyteller, but she wove her enchantment only if you were sick and restricted to bed.  To this day I don’t know why I didn’t succumb to hypochondria.

What change catapulted me into the joy of reading?  We moved to the melting pot of suburbia and lived on a street with the Kileys, the Gundersons, the Ermisches, the Walshes, the Buczaks, and more names that didn’t end in vowels!  In the fifties you wanted to fit in, so my dad laid down the law.  We were to speak only English to our mother. My brother had to change his DA hairstyle, and I had to forego my little gold hoop earrings unless we were going to visit relatives.

It was the summer of my tenth year that I hopped on my Schwinn and followed Sharon Buczak to the local library.  In the basement of the Police Department/City Hall I found Nancy Drew.  Even now, fifty years later, I feel a catch in my breath when I think of the moment I discovered the portal to freedom and imagination.

Take a look at the Big Read calendar to find a Big Read near you!

WHY READ?

March 1, 2010
Washington, DC

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“Card catalog” by Molly Ali from Flickr (http://www.flickr.com/photos/mollyali/ / CC BY-NC 2.0)

A regular feature of this blog is querying Big Read authors —both those whose work is part of The Big Read library and those who have  participated in various Big Read events across the country—as to why they read. If you’re visiting this blog, chances are you’re a fan of reading. So today, I’m asking you: Why do YOU read?

Leave a comment or send an e-mail to bigreadblog@arts.gov. I’ll try and post as many answers as I can over the next few days.

Need some inspiration? Visit The Big Read calendar to find out where and what folks are reading, discussing, and celebrating near you.

WHAT PAGE ARE YOU ON?

February 26, 2010
Washington, DC

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Stereograph of the north side of Washington Square, New York City, October 1909 from Library of Congress collection

In 1948, fresh from her Oscar-nominated role in The Snake Pit, Olivia de Havilland was encouraged to attend a Broadway production of The Heiress, a stage adaptation of Henry James’s novel Washington Square. As she recalled in an interview with the NEA, “At the end of the second act I knew I wanted to play Catherine Sloper. I wanted with all my heart to play that lovely character.” Her portrayal of Catherine Sloper earned de Havilland the 1950 Academy Award for Best Acress in a Leading Role. (The Heiress ultimately received eight nominations and four wins, including nominations for Best Picture and Best Director for William Wyler.) In the excerpt below, de Havilland recounts what drew her to James’s heroine and why James is in some ways  an actor’s novelist.

 I loved the character.  Here she was, such a good person, so modest, so good, so loving, so eager to please, so trusting. Then, of course, she discovers that the two men who mean the most to her in all her life, her father and the young man who courts her, Morris Townsend, she discovers that neither of them love her. And worse than that, they do not respect her.  They do not even like her. I cannot imagine in a woman’s life greater tragedies than those or a greater tragedy than that, to discover that the persons you love the most have no regard for you. And that was her discovery.  Now the marvelous thing about this, this simple, loving creature, through this experience, she becomes strong and intelligent.  That’s the marvelous thing about her character development.

I have just read Henry James’s Washington Square yet again, and . . .what a good read it is. It’s marvelously constructed—the short chapters with intense exchanges between the characters. He has a great feeling for dialogue; an awful lot of authors don’t. They like a lot of prose and description and then use very sparse dialogue. That’s not true with James, and you can understand why he toyed with the idea of becoming a playwright because he does see the novel in intense separate scenes, and they’re wonderfully done. It was a thrilling experience to re-read Washington Square.  Absolutely marvelous. I may even read it again. It could be addictive.

Don’t forget to visit The Big Read calendar to find out how you can get involved with a Big Read near you. And visit the NEA website to hear more from Olivia de Havilland who received the National Medal of Arts—the nation’s highest award in the arts–in 2008. 

WHAT PAGE ARE YOU ON?

February 25, 2010
Washington, DC

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Delicate Volcano of Cherry Blossoms, University of Washington Colonnade, Seattle by Wonderlane from Flickr
(http://www.flickr.com/photos/wonderlane/ / CC BY 2.0)

I know that National Poetry Month is still a month away. In hope, however, that spring arrives long before then, here’s Henry Wadsworth Longfellow’s translation of a spring poem by 15th-century French poet Charles D’Orleans.

“The Return of Spring”

Now Time throws off his cloak again
Of ermined frost, and wind, and rain,
And clothes him in the embroidery
Of glittering sun and clear blue sky.
With beast and bird the forest rings,
Each in his jargon cries or sings;
And Time throws off his cloak again
Of ermined frost, and wind, and rain.

River, and fount, and tinkling brook
Wear in their dainty livery
Drops of silver jewelry;
In new-made suit they merry look;
And Time throws off his cloak again
Of ermined frost, and wind, and rain.

Visit The Big Read website to learn more about Henry Wadsworth Longfellow and the other poets of The Big Read.

WHAT PAGE ARE YOU ON?

February 18, 2010
Washington, DC

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“Bridge over railway tracks” by Rob Patrick from Flickr (http://www.flickr.com/photos/alkalinezoo/ / CC BY-NC-SA 2.0)

In his 1991 novel The Sweet Hereafter, Russell Banks explores how a tragic schoolbus accident affects the lives of the survivors.  In this excerpt from an interview with the NEA, Banks discusses one of the central questions his novel shares in common with Thornton Wilder’s The Bridge of San Luis Rey.

[Wilder wrote,] “Some say that we shall never know and to the gods we are like the flies that the boys kill on a summer day, and some say, on the contrary, that the very sparrows do not lose a feather that has not been brushed way by the finger of God.” That nails the question that the book is trying to examine. For me, one of the beauties of the book— and it’s the reason perhaps that it lasts and is so universal—is that it doesn’t really answer that question. It pursues that question. It tries to penetrate that question to the bottom of the mystery that it raises and,  ultimately, despairs of an answer, I think. . . But it allows us finally to know that that’s the question which defines us in many ways as human beings. I don’t think any other species asks that question of itself and of its lives. And if you don’t ask that question then you’re not dealing with the mystery of existence, of human existence.

Hear more from Banks and others on Thornton Wilder and his work on The Big Read audio guide for The Bridge of San Luis Rey. And don’t forget to visit The Big Read calendar to find a Big Read taking place near you.

WHAT PAGE ARE YOU ON?

February 17, 2010
Washington, DC

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Great Hall. Detail of cherubs representing the literary genres [Poetry is in the middle holding the scroll] on the Grand staircase by Philip Martiny. Library of Congress Thomas Jefferson Building, Washington, D.C.

February may be the shortest month of the year, but it seems twenty-eight days are more than enough time to publish three —that’s right three!—new books on the Belle of Amherst. (And just for the record, there’s another one due out in June.) John Barr, president of the Poetry Foundation, also has a lot to say on Emily Dickinson. From The Big Read audio guide, here’s his take on Dickinson’s inimitable voice.

Every great poet writes in a voice that is unmistakably his or hers. When we hear the high, tragic diction of Homer or Yeats, or the urgent but colloquial voice of Dante, who speaks to us in The Inferno as if we saw him on the street just yesterday, or the boisterous, almost overly familiar diction of Walt Whitman, we don’t need to know the poet’s name to know who it is speaking. Emily Dickson’s voice is equally unmistakable. We hear it as if it is coming from the next room. It is a contemporary voice—quiet, contemplative, but also passionate. In fact, the voice is slyly provocative. It never plays into our expectations; rather, it uses the unexpected as a principal conversational tactic. The rhymes are there so we know it’s a poem, but they are there sparingly. The rhythms are there, as well, but they are not mechanical, like a metronome. Her poems wear form, but they wear it lightly. They suffer form, but are not beholden to it. 

Learn more about  the work and world of Emily Dickinson on The Big Read website. And don’t forget to check out the calendar to find out where there’s a Big Read taking place near you.

 

HAPPY BIRTHDAY MR. PRESIDENT

February 12, 2010
Washington, DC

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Lithograph by T.J. Hayes Print Co. circa 1920 from Library of Congress Theatrical Poster Collection

On the occasion of the 201st anniversary of his birth, here are a few words on reading from poet and president Abraham Lincoln:

A capacity, and taste, for reading, gives access to whatever has already been discovered by others. It is the key, or one of the keys, to the already solved problems. And not only so. It gives a relish, and facility, for successfully pursuing the [yet] unsolved ones. (September 30, 1859 , Address before the Wisconsin State Agricultural Society)

Find out where the Big Readers are in the Land of Lincoln—and elsewhere—by visiting The Big Read calendar.