I’m not an expert, but I’ve been involved in raising several American Girls: daughters, granddaughters & now great granddaughters. And I hope I’ve learned a thing or two.
Here’s one: several of the American Girl doll characters were very valuable for one of them, and me, at the turn of the millennium.
I never bought any of the dolls, which were made to resemble girls from different eras in American history: great idea but too pricey, I discovered the series, and one character, at the library, in an associated audiobook. It was Addy Walker: an enslaved girl, who escapes from sun-baked southern tobacco fields to freedom. In six connected stories, her family begins to cope with the opportunities — and hardships — of a free life in a still unequal American society.
In those years I often traveled with my oldest granddaughter, driving us for hours to family and Quaker events. Good books on tape held our attention and helped pass many miles. They also promoted the appeal of reading, one of my goals for her.
Addy was an audio and read-aloud favorite for me. My granddaughter is multiracial, and Addy’s stories were mulch for the continuing task of nurturing and navigating her growing identity in our somewhat more free but still unequal world.
They also dealt, delicately, with class: For instance, Addy’s family goes to work in a dressmaking shop run by a Quaker businesswoman. This owner is no mere saintly icon. She’s on the side of freedom, but is an unsentimental demanding boss, pressing for efficient, quality work that can be sold for a hefty profit. Nothing wrong with that! Continue reading Raising American Girls?→
The Nation: Abolition Democracy
W.E.B. Du Bois and the making of Black Reconstruction.
By Gerald Horne – MAY 3, 2022
By the time his magnum opus, Black Reconstruction, was published in 1935, W.E.B. Du Bois was already a rara avis—a prominent Black activist-intellectual in the midst of Jim Crow. Dapper and diminutive, and nattily clad in suit and tie, he was renowned throughout the country.
In the May 30, 2021 New York Times, there’s an Op-Ed on military conscientious objectors, or COs. I’m gratified to see it on the brink of Memorial Day. It shows no disrespect for those who agreed to fight in war and died to recognize that a persistent minority has declined to take the sword.
The piece mentions two military COs, but mostly concentrates on the recent case of Michael Rasmussen. He was training to be a Marine combat pilot, but found his conscience turned against taking part in war. The Times:
One morning as he prepared for a supply flight to Hawaii, Mr. Rasmussen kept returning to the story he’d read in bed the night before in “Path of Compassion,” by Thich Nhat Hanh, in which the Buddha was out begging when he was nearly mugged by a notorious criminal. Instead of robbing the Buddha, the mugger confessed to a life of murder and mayhem and asked him for advice: “What good act could I possibly do?”
“Stop traveling the road of hatred and violence,” the Buddha said. “That would be the greatest act of all.”
Mr. Rasmussen got in his car to drive to the hangar, overwhelmed with what he called an “immense feeling of dread.” The story haunted him: “Am I on the road of hatred and violence?” he wondered. He decided then and there to leave the Marines.
My friend Patrick O’Neill is serving a year in a federal prison, for attacking a replica of a nuclear missile at a south Georgia navy base in April of 2018. (A post with more about that protest is here.) It’s part of his peace witness as a member of the Catholic Worker movement.
Most of us don’t think about the missiles a lot. But there are enough just at that one Georgia base to kill pretty much everyone in the world, on fifteen minutes’ notice.
Yeah, the risk of nuclear Armageddon did not disappear with the fall of Soviet communism.
Patrick and several others did think about the missiles, tho, and it led to Patrick reporting to the federal prison in Elkton, Ohio just about when Joe Biden was being inaugurated.
Doing time is tough. And nobody can do it for him. Patrick has a good deal of jail experience; and one lesson is that it doesn’t get much easier. There are a few ways to be supportive from outside. Mine is to send Patrick reading matter. Reading can dull some moments in the overwhelming tedium of confinement. So I have sent him a few of my books. (Hey — a captive audience; the best kind.)
It can help a little. Patrick said so, in a note that arrived this week:
‘Let all you do be done in love’— St. Paul
Good Friday [04/02/2021] Day 18 in the SHU (solitary)
Hi Chuck— My Lenten Journey will take me past Easter — I’ve done a lot of time (20+ jails, 6 prisons), but this has been the worst. Before the SHU [NOTE: SHU = Special Housing Unit] I spent 4 days in a hospital with 2 armed guards with me at all times who kept me in leg irons, and my left hand attached by chains to the bed, one chain attaching my leg irons to the bed . . . . I had to pee in a plastic bottle while chained.
When I asked one guard to use the bathroom he said, “Do you have to do Number Two?” He would not have unchained me otherwise. And the leg irons never came off except for 15 minutes when I took a stress test on a treadmill. And now I’m in the hole for Covid quarantine.
[Note: It’s no surprise that Patrick came down with Covid. Since March 2020, The New York Times has tracked every known coronavirus case in every correctional setting in the United States. . . .
A year later, reporters found that one in three inmates in state prisons are known to have had the virus. In federal facilities, at least 39 percent of prisoners are known to have been infected. The true count is most likely higher because of a dearth of testing, but the findings align with reports from The Marshall Project, The Associated Press, U.C.L.A. Law and The Covid Prison Project that track Covid-19 in prisons.
The virus has killed prisoners at higher rates than the general population, the data shows, and at least 2,700 people have died in custody, where access to quality health care is poor.
The deaths, and many of the more than 525,000 reported infections so far among the incarcerated, could have been prevented, public health and criminal justice experts say.] Back to Patrick:
This remarkable tribute is by Mark Schwartz, an attorney from Bryn Mawr PA. It is a remarkable tribute to the work and memory of a photographer friend, Christopher Cardozo, who in turn had made a career of preserving and paying tribute to the work of an earlier pioneering photographer-ethnographer. It was so striking i am posting it here, with Schwartz’s permission:
Christopher Cardozo: Foremost Authority on American Indian Ethnographer and Photographer Edward S. Curtis, died on February 21, 2021 in Minneapolis at age 72
Despite a family lineage in the law going back to Justice Benjamin Cardozo, Christopher Cardozo serendipitously took a very different path, candidly observing that “I would probably be a walking malpractice suit”.
Born February 27, 1948, after graduating with a degree in photography and film from the University of Minnesota, a professor invited him to Oaxaca, Mexico to help make a film. After taking five months to save up to buy a 10-year-old VW Beetle, camera lenses and film, Cardozo made the trek across the continent, finally arriving only to be informed that his professor had decided not to make the film. The curt apology was, “I should have written.”
Notwithstanding, Cardozo stayed on in the remote Mexican village of San Andres Chicahuzxla, Oaxaca, Mexico.
He spent six sometimes dangerous months in 1972 documenting a place and people who were losing their way. Chris’ sepia-toned images of the villagers prompted a friend to observe that his photos were remarkably similar to Edward Curtis’ work.
His curiosity piqued, Cardozo furiously studied, acquired, exhibited and replicated Curtis’ work. This became the making of a career spanning more than fifty years.
He thus became the foremost authority on Curtis. Cardozo came to realize, “I was led to this. This was my soul’s purpose. Why I ended up on Earth at this particular time was to make this work available to people.”
Edward Curtis’s exposure to Native American culture came some seventy years earlier than Cardozo’s parallel experience. In the summer of 1900 , Curtis (1868-1952) witnessed one of the last performances of the Blackfoot Indian Tribe’s “Sun Dance” ceremony. Ushered in to the lives of Native Americans , Edward Sheriff Curtis wrote “It’s such a big dream. I can’t see it all.” This became Cardozo’s catch phrase in sharing and perpetuating Curtis’ dream of preserving the history and legacy of these magnificent people.
Curtis had left a promising career as a society photographer to photograph Native Americans in their home lands. He spent three decades at this.
At the beginning of the 20th century, Edward S. Curtis worked in the belief that he was in a desperate race against time to document, with film, sound and scholarship, the North American Indian before white expansion and the federal government destroyed what remained of their natives’ way of life. For thirty years, with the backing of men like J. Pierpont Morgan and former president Theodore Roosevelt, but at great expense to his family life and his health, Curtis lived among dozens of native tribes, devoting his life to his calling.
Over the course of thirty years Curtis had compiled a photo-ethnographic study: The North American Indian. In 1911 the New York Herald characterized it as the most gigantic undertaking since the publication of the King James Edition of the Bible.
Consisting of twenty leather-bound volumes, twenty portfolios containing more than 2,200 original photogravures, and 4,000 pages of anthropological text. His attention to detail included transcriptions of tribal language and music, and the work involved the active participation of over 10,000 Native Americans.
Finalized in 1930, in the depth of the Great Depression, less than three hundred sets were actually produced with only two hundred actually sold. This published work was in addition to some 45,000 to 50,000 negatives (many on glass) , ten thousand wax cylinders of ceremonial music and language recordings, and motion picture footage, all taken by Curtis.
The magnum opus completed, having driven himself to the limit, Curtis lost everything, suffering a physical and nervous breakdown in 1930. He died in 1952 essentially unknown and penniless.
It was in the seventies, in large part owing to Cardozo’s activities, that Curtis’ work enjoyed a resurgence.
Summing up his own contribution, Cardozo told the Minneapolis Star & Tribune (12/18/18),
“I believe I was instrumental in changing the conversation about Curtis. He’d been thought of as an ethnographer….. But I got people to see his work as the artistic achievement that it was. The platinum prints, the gold tones, the cyanographs—they leave me speechless at times.”
Cardozo is the author of nine monographs on Edward Curtis, and has created and curated one-person Curtis exhibitions that have been seen in nearly one hundred venues in over forty countries, and on every continent, but Antarctica. Why? He summed up his vision in a Forbes interview:
Edward Curtis created the most valuable and sought-after set of rare books in US history and left the world a legacy of inestimable importance. It is a deeply human story which, at its essence, is imbued with beauty, heart, and spirit. I believe that in no small part, this is why these iconic images have endured for over a century. It also helps explain why Curtis is the most widely collected photographer in the 170 year history of the medium, and why his photographs have been exhibited to rave reviews all over the world, from Papua, New Guinea to Paris.
Having collected Curtis’s artwork for decades, Cardozo created the world’s largest and most broad-ranging Curtis collection. His personal collection has been exhibited in major museums internationally, and was the subject of his widely heralded monograph on Curtis: Sacred Legacy; Edward S. Curtis and The North American Indian, and a new monograph on his personal collection titled Edward S. Curtis: One Hundred Masterworks, in which Cardozo said
“Curtis’ work changed the way our nation viewed Native Americans and generated a broad-ranging dialogue for greater compassion, understanding, and inclusion. For more than a century, his images have moved and inspired diverse audiences, transcending economic, cultural, social, educational , and national boundaries. He accomplished this at a time when Native Americans were commonly viewed with disdain or hatred and some individuals were still actively advocating for the extinction of all Native peoples on the North American continent. Contributing to that work was Minnesota writer Louise Erdrich who wrote that Curtis’ images of women were “ as disquieting as they are profoundly beautiful.”
With the few remaining 160 sets of Curtis “The North American Indian” financially and physically out of reach of new generations of scholars and students, Cardozo undertook the three-year painstaking task of artisan republication of the 20-volume work and accompanying portfolios, so as to coincide with the 2018 sesquicentennial of Curtis’ birth.
With the republication accomplished, Cardozo, long bothered by the fact that he was a white man owning so much of Native America’s legacy, launched the “10,000 Print Repatriation Project” to connect the descendants of those photographed with their ancestors’ images.
As the founder of Cardozo Fine Art in Minneapolis, he has pioneered techniques for preserving and revitalizing historic photographs, as well as developing cutting edge techniques for contemporary photography. He was also the founder and board chair of the Edward S. Curtis Foundation, dedicated to preserving and exhibiting the work of Edward Curtis. No one has done more to increase the awareness, understanding, and appreciation for Curtis’ work than Cardozo. Friends and family are committed to continuing his work.
Upon reaching the age of 70, he wanted to return full circle to his own photography which launched this incredible journey.
Christopher Cardozo is survived by his beloved Mother Patricia, Sisters Julie and Claudia, Brother Jeffrey, his Niece Brittany Lease (Lewis) and their children Alden, Ben and Milo. Chris also has ten Goddaughters and Godsons with whom he shared many years of companionship and mentoring. His network of friends, scholars and artistic colleagues knew him as a man with a lovely zest for life lived with no estimated time of arrival . . . .