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Posts Tagged ‘labor history’

keeping our dreams intact when we are forced to work mind-numbing jobs

This morning, Sunday September 3rd, I co-led a Unitarian Universalist service on Labor Day Weekend.  The theme was labor.  As part of this service, I read from my book Tea Leaves, a memoir of mothers and daughters (Bella Books, 2012).

You can view my reflection below on the YouTube video or read the reflection below that.

 

 

Good morning.

 

Today on Labor Day weekend our theme is labor.  I immediately thought of this section of my book Tea Leaves, a memoir of mothers and daughters. This is a story about the survival of how we keep our dreams intact when we are forced to work mind-numbing jobs.

                      ________________________

My mother and I both stared at the iron legged ottoman, covered with a faded tapestry that my grandmother wove more than a half century ago.  Whenever I looked at the patterns of the ottoman, the faded edges and the lines of darker colors, I saw my grandmother, a single mother who worked in the Kensington section of Philadelphia in a textile factory.

My grandmother was a woman of great dignity.  The Episcopal Church, especially after she had divorced and returned to the city, was one of the major pillars in her life.  I don’t know, in fact, that she was particularly religious.  But I remember visiting Saint Simeon’s with her, and I could see the appeal of the church, especially to a poor woman who had little, if any, luxury in her life.

She might have been saying prayers that she no longer believed in as she sat there, her head bowed and covered, next to her two girls—my mother squirming in the aisle seat and my aunt sitting next to her daydreaming as she stared at the stained glass windows. The shiny brass organ pipes reached to the ceiling and looked as beautiful as sound.  The pews were polished mahogany, the wood smooth and cool. The scent of incense and flowers permeated the air.   All St. Simeon’s needed was some red-velvet seat cushions and gilded cherubs on the ceiling and it could have been easily transformed into the sensuous lair of an opera house or, perhaps, a bordello. Sundays at St. Simeon’s was a respite from the rest of my grandmother’s life.

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Her days in the textile mill encompassed her like the full spectrum of shadow falling from a sundial.  The morning light filtering through the small windows of the dark mill would have been diffuse.   Her hair would have been tied back into a bun as the light fell around her.  She would have bent over the heddles that kept the warp lines in place as she threaded the machine.  The colors on the ottoman— rust red, dusty blue, olive green, black—would have filled the spindles that unraveled furiously into the automated looms as her hands kept pace.  When the morning light turned into afternoon and the heat rose in rivulets of sweat dripping from her skin, my grandmother would have reminded herself that she was lucky to have found a job.  The soup lines were getting longer.  The unemployed and the homeless were marching in the streets.  Even if my grandmother didn’t know anyone who committed suicide, she would have read the listings in the daily papers.

I wondered what it was like for my grandmother, a woman with dreams and aspirations, a woman whose life dictated that her only option was to work in a mill or to clean someone else’s house, which was what she did after she left the mill. Did her dreams keep her going through the tedium of her life?  Or did knowing that her dreams would never come true make her life close to unbearable?  And if her life was unbearable, what kept her going?  Did the thought of her girls having better lives make it all worthwhile?

When my grandmother worked at the textile mill, she was a woman who was no longer young but not yet old.  She still had her girlhood daydreams as an escape from the pure tedium of her life.  At the same time, the features of her face would have been hardening themselves into the lines of her future.  Her lips may have opened easily in laughter, but they were on their way to becoming a stitch in the center of her face.

My mother told me that when she was a girl my grandmother would tell her stories about her own childhood when she and her cousin took bit parts in the People’s Theater, the local community theater.

My grandmother’s memories would have swirled through her mind as she stood sweltering in the textile mill, reloading the spools that needed to be filled faster than her fingers could go. Her back might have been aching and her fingertips numb—she might have been wondering how she could afford to pay the rent—but in her dreams she was stately as a queen as she stood center stage.  Her imagined green chiffon dress was a waterfall cascading down her.  A diamond tiara sat on her head, sparks of light reflected in Romeo’s eyes.

Sitting in the living room with my mother, I could hear the distant applause, replaced suddenly by the din of the mill.  The noise of the loom, the thud, the thwack, entwined with a ceaseless rhythmic tramp—the tread of hundreds and thousands marching through history.

————-

Namaste

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Note:  The following is the introduction that I gave to my short play “Forty Days and Forty Nights” that I gave this morning at the Unitarian Universalist Church of the Restoration in Philadelphia where I presented the skit with actors Janice Roland Radway and Allen Radway and Barrington Walker as the narrator.  To see the piece on YouTube — after the introduction — click here.

Or you can view the YouTube video at the bottom of the post.

 

Several years ago I took the UU class offered here at Restoration and was inspired to read the Bible for the first time. At the same time I was reviewing several books on transgender issues and was deeply influenced by a neighbor’s child who had transitioned at the age of five.  I was also reading a book I had borrowed from Reverend Ellis about the Gnostic Gospels, something I had been long interested in — mainly through the music of my friend Julia Haines, a harpist and composer who has performed at this church.

In one of the books that I read on transgender issues, the author wondered what it would be like for a transgendered person to have the experience of learning about a transgender person as a character in the Bible.

I wondered too. What would happen if a person who is usually condemned by religion, is celebrated instead?  As Unitarian Universalists, we have that opportunity as expressed in the first UU principle, the inherent worth and dignity of every person.

As a result of this confluence of ideas — perhaps spurred by my becoming a new Unitarian Universalist — I wrote a novel with a working title of She And He. The ideas in the novel may be ahead of their time — but I’ve always believed that there’s no time like the present.  Three excerpts were published and one was nominated for  a Pushcart Prize.  I also presented a different excerpt (titled “The Descent of Ishtar”) at Restoration last year with our own Janice Rowland Radway starring in the role of Tamar — a character from the Hebrew Bible.

In this version, Tamar is reborn as the twin sister of Yeshua, the Hebrew name for Jesus, played by Allen Radway. When I heard that this month’s theme was “Christology” — I thought it was a perfect fit — even — or especially — because it is an alternative view.  I wanted to bring it to you because I imagined it might encourage you to take your own journey.

You can also read an excerpt, written as standalone short fiction, in the online literary journal BlazeVOX15

Other excerpt is in the current issue of Sinister Wisdom — the fortieth anniversary issue

In aaduna literary magazine.

Another excerpt (also starring Janice Roland Radway as Tamar) “The Descent of Ishtar” can be seen on YouTube.

 

 

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previously in The Huffington Post

I have to admit that I find history fascinating.

This hasn’t always been the case.

I first came across history in the way that most of us are “fed” history. It was forced on me, it was exclusive, and it was boring. In fact, my high school history teacher was nicknamed “Boring Barry.” I don’t remember much, if anything, that he taught us. No doubt it was just more of the same thing — the white, male, heterosexual, view of the world. Facts and figures. Dates of wars.

But as a young adult, I discovered Howard Zinn’s The People’s History of the United States. I used this book, first published in 1980, extensively when researching my book Tea Leaves, a memoir of mothers and daughters.

Although my book ended up being more of a personal one — chronicling my family history that dovetailed with the labor movement, feminism (my mother was first generation, I was second), and coming out as a lesbian in the early 1980s.

I’ve seen a lot of history — especially in the LGBT movement. But even so, I find it helpful to have a refresher now and then. This is particularly true with LGBT history — which sadly to say has been erased with a few notable exceptions. It was in this spirit that I read three books on history. It made me reflect that knowing your history is necessary — but reading about it can also be enjoyable.

In The Right Side of History, 100 Years of LGBTQI Activism by Adrian Brooks (Cleis Press; 2015), which is put together as a collection of lively essays, many by well-known LGBT activist, writers and public figures, including Barney Frank, I learned more than a few things.

I was particularly taken with New York Times bestselling author Patricia Nell Warren’s essay on Bayard Rustin. Rustin spoke out about gay rights in the 1940s and he went on to become a major Civil Rights activist and Dr. Martin Luther King’s right hand man. Warren gets to the heart of why history is important when she writes about teaching LGBT students of color in Los Angeles who “were hungry to know that they had some towering historical role models like Rustin.”

“To a black kid who was one of the school district student commissioners at the time, I gave a copy of a biography about Rustin. He devoured the book and told me that he cried all the way through it.

“‘It’s just awesome,” the student said, “that an openly gay black man was Martin Luther King’s head guy.’”

Mark Segal’s book And Then I Danced (Akashic Books; 2015) is a historic memoir, chronicling his life in the LGBT political scene in Philadelphia where he the founder and the head of the Philadelphia Gay News, New York where he lived for a time, and on the national front. In addition to chronicling his role in LGBT history, including his important and pioneering role in housing for low-income LGBT seniors, Segal also presents his personal and family life in a warm, engaging manner and this writing extends to his interactions with public figures. Writing about meeting Hillary Clinton for the first time, Segal says:

“She gave me a warm hug and said, ‘You’re more tenacious than me!’
Coming from her, it was the ultimate compliment.”

In Literary Philadelphia (The History Press; 2015) by Thom Nickels, I particularly enjoyed the insights that Nickels a gay writer and activist provides. This includes the mention of Walt Whitman (the bearded poet was a familiar site on Market Street), along with lesser known gay writers along with non-LGBT Philadelphia literati such as James Michener and Pearl S. Buck.

In the chapter called “Poetdelphia,” he writes about poet Jim Cory and quotes him extensively about his stumbling across The Mentor Book of Major American Poets:

“‘It was sacred text. It explained everything. I still have it. Five year later, it was all about the Beats and Bohemian rebellion. Fast-forward ten years and a lot of what I was writing was gay poetry. In my sixties, I write in different modes to satisfy different ends. Short poems appeal because of the challenge of getting something complicated into seven lines, cut-ups and collage because they’re fun and with any luck can be fun for the reader too.’”

Jim and I were part of a poetry collective that he founded in the early to mid-nineties called Insight To Riot Press. We published the late Alexandra Grilikhes (among others) who is mentioned in the book. Nickels muses “If Philly poet Alexandra Grilikhes were alive today, would her various poems to female lovers in books like The Reveries …be deemed too risqué?”

In this same chapter, I was surprised to come across a photo of myself, Jim Cory, and poet CAConrad (also an Insight To Riot! collective member) taken in 1994. We all look much younger.

You know what they say. It’s a small world.

 

previously in The Huffington Post

literary-philadelphia

 

 

 

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Yesterday, a the Unitarian Universalist Church of the Restoration in Philadelphia, I presented a “Dharma Talk” on ancestors and religion — how they intersect in my life.  I also presented some photo compositions that I shot and put together.  The photos are below and the presentation can be seen on YouTubetrinity-blog-one

What does religion mean to you?

I found this question in my home office. It was on a yellow Post-It note (which I often use) and it’s in my handwriting, so I know it didn’t drop from the sky.  But I have no memory of writing it.  It is a question that unconsciously I’ve been asking myself for a while.

To me religion at its purest is a connection to spirituality and spirituality is connected to the ancestors. My channel to religion/spirituality/myself has always been my writing. (My spirituality is now also connected to a regular meditation practice, yoga — with my gifted teacher the one and only Jane Hulting — and through attending services at Restoration.)

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My feeling of ancestry runs deep — and it makes me stronger. For example, when my mother was dying, my taking notes on our conversations (which I did not do in her presence) gave me focus.  I wrote my memoir Tea Leaves after she died. The writing of the memoir allowed me to keep my mother alive in my imagination — she had a wicked sense of humor — and at the same time it gave me the space to process her death.

Tea Leaves, which I just read from, includes stories about my mother, who was an office worker, and also my grandmother, who was a spinner in a textile factory in the Kensington section of Philadelphia in the 1920s and 30s. Later in life, she was a domestic. My mother and grandmother were artists at heart — just like me — so the book is full of mythology and dreams as well as family and labor history.

Ancestors are something that we all have, even if we have never known them. Like the Sweet Honey in the Rock song Breaths, if we listen more often to things than to beings, we can hear the ancestors speaking. In Santeria, and other religions in the African and Cuban traditions, there are rituals for communicating with the ancestors and seeking their wisdom.

In Native American spiritual paths there are many traditions that honor the ancestors.

All over the globe, ancestors are honored in Hinduism and Buddhism.

As extensive as these are, they are just a few of the spiritual traditions that honor ancestors.

Last fall, I started working on a project with an old friend and we are taking classes together at Temple University. One of the classes was on anthropology and photography and required field work. When I began classes, I was taking the bus and walking down North Broad Street.  I noticed that I was passing Glenwood Avenue, the street where my grandmother lived. She died when I was twelve and despite the fact that I attended the nearby campus of Temple when I was young, I never returned to her house.

 

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I decided that I needed to see the house that she lived in. Fortunately, I still have my father. He is 96 years old and is in good shape aside from bad eyes and increasing aches and pains.  He has a mind like a steel trap.  He told me my grandmother’s street number.  He also confirmed the name of her church — St. Simeon’s Episcopal Church — at 9th and Lehigh. This is the church where my father and mother were married.

I took my camera and visited the church which was bought by an evangelical group in Washington D.C. several years ago, partially rehabbed, and from the looks of it abandoned again. Then I walked several streets to my grandmother’s old house.  I took the bus home and put the photographs together with a smaller portrait that my friend took of me and my memoir.

 

In Speak Memory, Vladimir Nabokov writes “our existence is but a brief crack of light between two eternities of darkness.” That is why the background of this composite photograph is black with a drop shadow on the images of my grandmother’s old house and church as they currently exist (representing also their imprint in my memory).  And there’s me at the bottom with my book, Tea Leaves, tying the generations together.  The title comes from the first line in the book with my mother saying to me: “Your grandmother read tea leaves.”  My mother told me this when I was 35 and she was in her mid 70s and dying.  I never heard about my grandmother reading tea leaves until then.

Since I titled the photograph “Trinity” — I decided that there should be three of them. The second photograph shows the door of my grandmother’s church as it is now in a collage with my parents wedding photograph above it. Like memory, the photograph of my parents’ wedding is fading into the background.

Finding my grandmother’s old church was magical. I recognized the arched red door from an old wedding portrait of my parents. When I photographed the broken stain glass window, a scent of musty decay reached my nose.  It may be the scent of abandonment and poverty, but I remember that smell from childhood. I associate it with my grandmother’s house — in particular with her basement.

The third photo shows the church, the house and my grandmother.

If I had done this project five or more years ago, I would not have thought of returning to my grandmother’s church. Perhaps being a member of Restoration — and of finding a church that I could be a member of — gives me a stronger connection to my grandmother and to my ancestors.

I always thought that my grandmother’s strong attachment to her church was mainly social and not religious. Some years after my mother and father were married in Saint Simeon’s, my mother became a card carrying atheist and my father declared himself an agnostic. They both were, in many ways, ahead of their time. The secular upbringing they gave me was a gift.  Yet, here I am, a Unitarian Universalist, searching for religious significance.

I share my grandmother’s sense of the spiritual, be it be reading tea leaves or clairvoyance in finding a parking spot. Since my ancestry involves religion, I come back to my original question, “what does religion mean to me?”

One purpose for religion is to make the world a better place. For this reason, I am proud to be part of a tradition that honors social justice and the legacy of “deeds not creeds.”

Another purpose of religion is to explain mortality.

When I heard the UU belief that “everyone goes to heaven,” I thought as party lines go, that’s not a bad one.

There’s lots of room in this religion — enough for you and for me. As the UUA website says:

“We are Unitarian Universalist and: Atheist/Agnostic, Buddhist, Christian, Hindu, Humanist, Jewish, Muslim, Pagan, and more.”

There’s room for my belief in karma — that what goes around comes around.

There’s also room for traditional beliefs. I heard someone say, in this church, of a departed loved one, that he is in a better place. I really began to think about it. It is comforting.  And if you look at the statement logically (even without a religious context) it is true.

I watched my mother and my aunt die slow agonizing deaths — there is no doubt in my mind that wherever they went is better than where they were.

I agree with the Buddhists that “we should always keep in mind the impermanence of life.”

I also have a kind of Buddhist theory about the energy or the consciousness of our lives continuing after death.

For example, my mother’s wisdom and acerbic wit is often in my mind.

So who do you see when you look in the mirror? I see my late aunt and mother. When I laugh I hear my grandmother. He is still living, but when I look in the mirror sometimes I see my father. Specifically, I see his hair. When he had hair, it was just like mine.

You don’t have to answer now, but think about it. Who speaks to you and what are they saying?

 

 

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I recently had the honor and privilege of having a Conversation with William E. Berry, Jr., Publisher & CEO, of aaduna literary magazine.  The journal published my novel excerpt “The Mother”  and nominated it for a Pushcart Prize.

Below is an excerpt from the Conversation and a link to the full piece in aaduna:

Janet Mason:

First off, thanks bill for your compliments about my work in aaduna.  I feel honored that you described it as having an “intriguing intensity,” “subtle edginess,” and a “provocative premise.”  The inspiration for my novel She And He, which “The Mother” came from, reflects several sources.  I review books for The Huffington Post and the radio syndicate “This Way Out” based in Los Angeles, and three of the books I reviewed that influenced me were on transgender topics.  The other major influence was reading the Bible pretty much for the first time which gave me a fresh take on it.

I wanted to write something fun and upbeat based on this landscape — and come to think of it, I did put a fair amount of myself into it.  I am tall and because of my height and angularity, I am frequently called “Sir.”  And though I identify as female, I have always identified with male and female interests.  When I was a child, I had an imaginary friend who was a boy my age who lived in my mind.  I actually didn’t think of this until now, but this must have influenced my thinking of having a line of intersex characters that are born in “The Mother” and the intersexed twins Tamar and Yeshua.  Tamar, the narrator of the story, indentifies primarily as female but is born intersexed.  And her brother, Yeshua (Hebrew for Jesus) identifies as male but was born intersexed.

I think my life is pretty normal — normal for me!  I spent a lot of time alone writing and I also garden (this summer I planted and harvested a lot of pumpkins and carnival squash).  My partner, who I live in an old farmhouse with, is retired from the postal system, and is a fabulous cook.  I take long walks everyday and do yoga and a Buddhist meditation practice almost daily, so my day to day is pretty tame but it suits me.

to read the rest of the Conversation, click here

“The Mother” is an excerpt from my novel in process, She And He.  It is loosely based on a character (Tamar) from the Hebrew Bible, and is told from the spin of how independent women and gender-variant characters not only survived but thrived in ancient times.

You can see a skit from She And He on YouTube .  The skit was done at the Unitarian Universal Church of the Restoration in Philadelphia.

You can also read another excerpt, written as standalone short fiction, in the online literary journal  BlazeVOX15

Another excerpt is forthcoming this year in Sinister Wisdom —coming out in April.
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I still remember the first time that I set foot in Giovanni’s Room, the beloved LGBT bookstore that recently closed its doors this past May. It was 1981, the year that I came out. I was in my early twenties. I had known about Giovanni’s Room, the gay and lesbian beacon on the corner of Twelfth and Pine Streets in Center City, Philadelphia. The store was founded in 1973.

The storefront was a rare and welcome presence for gay men and lesbians like myself who came out in a hostile time before the television shows Will and Grace, and Ellen, but after the Stonewall Gay Liberation Riots in 1969 which meant that gay bookstores, gay, lesbian and women’s presses were in existence. Gay marriage was just a glimmer in the eyes of our forebears (such as Gertrude and Alice) and still way in the future for us.

Stepping into Giovanni’s Room in 1981 felt like an act of courage and it was. Years later, the bookstore hosted Rita Mae Brown as a guest signing her books. I stood in the long line that went up the narrow staircase to the second floor where Rita Mae was signing her books. I arrived upstairs just in time to hear Rita Mae ask Ed Hermance, the owner, how many rocks had been thrown through his store windows over the years. As I recall, it was a high number.

On that first visit to Giovanni’s Room in 1981, I bought a book about Sojourner Truth, the African American abolitionist (born into slavery) and women’s rights activist. The book was hardback and had an off-white dust jacket with a pebbly feel to it. The title was Sojourner Truth: A Self Made Woman. It was in many ways a safe pick for me. If I ran into someone on the street and they asked me where I had been, I could be honest and say Giovanni’s Room which was a feminist bookstore, too. But Sojourner Truth had been an important figure in history and someone who gave me courage in my young life.

After my first trip to Giovanni’s, it was easier to go back. Inside the walls of that corner city house turned bookstore, I found a community of past and present. It was where I heard activists and authors of all types speak. And it was where I became most intimately acquainted with James Baldwin (whose pioneering novel Giovanni’s Room the store was named for), Willa Cather, Sappho, of course, and so many others.

Finally, Giovanni’s was a place where I came to find myself as a lesbian and as an author. I had been writing since childhood and began taking it seriously at the age of twenty-nine, the same age I learned that Gertrude had been when she started writing as a daily practice. When I began to get published in journals and anthologies, I would come into the store and find myself on the shelves. A little while later, when a small press began publishing my chapbooks, they were in the poetry section. A poster with one of my poems on it was in the rack upstairs. In the last five years, when I had readings for a novel and then a memoir, I had my book launches at the store.

I was part of many readings at Giovanni’s over the years, but that is what not I remember most. I remember that Giovanni’s shaped me as a writer and that Ed Hermance nurtured my talent. Ed and I would often talk when I came into the store, and he was always let me know when a new book had come out that I should check out, including a new translation of Sappho and a collection of James Baldwin’s letters. It was more than just good business. Ed really cared.

One of the people we both cared about was Toni Brown, the late lesbian poet, who worked at Giovanni’s Room for a stint when she first moved to Philadelphia from Amherst, Massachusetts. Toni died, unexpectedly, at the age of fifty-five. I had a very large print made from a photograph that I had taken of Toni made for her memorial service in April of 2008. The photograph was displayed on the stage of The Painted Bride Art Center where the memorial was held. Toni was a tall African American woman, about the same height as I, and the service was packed with a diverse crowd. I remember standing on the stage talking to Ed Hermance, both of us crying, and me handing him the photograph. He displayed it in the store for a time, on the wall behind the cash register. I remember thinking that I could walk into Giovanni’s Room at any time and see Toni.

Losing Giovanni’s Room is in many ways similar to losing a good friend. It was a place that contained our history, as a movement, as a people. It was a place that gave testament to our lives. It was a store that gave so many of us a safe haven and, in reality, saved many lives.

It was a place where we could be ourselves.

Note: as of this writing, Giovanni’s Room is still awaiting the decision of a potential buyer — which most likely will come by the middle of June.

 

From The Huffington Post

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from The Huffington Post

I was reminded of the quote from the late poet Muriel Rukeyser — ”What would happen if one woman told the truth about her life? The world would split open” — when I read Judith K. Witherow’s collection of essays, Strong Enough To Bend, Twin Spirits Publishing, 2014. Then when I read The Rules by S. Renee Bess, a novel published by Regal Crest Enterprises, 2014, I was reminded of this quote again.

Judith and Renee are both lesbian writers who bring their truth home through their writings.

In her collection of essays, Strong Enough To Bend, Judith K. Witherow describes herself as a “back up writer, one of many who stand in the background, providing the harmony and staging the recognition for those whose names are on the covers of the books or the mastheads of the publications.”

She describes Strong Enough to Bend as her solo performance. And what a performance it is. I found that I could not put Strong Enough To Bend down — except for time to recollect how much the essays reminded me of friend’s lives and my own.

Native American lesbian and truth teller, Witherow starts her collection with essays on her background being raised poor in the northern Appalachian mountains.

“We never lived in a place that had screen doors or screens in the windows. This allowed everything, including snakes, to come and go at will. We learned at an early age to pound on the floor before getting out of bed.”

In the second section, Judith talks about how she came out with three sons that she gave birth to during a marriage to an abusive man. Raising her sons in the 1970s a time when lesbians were losing their children to custody battles with ex-husbands, presented Judith with an ongoing dilemma of when to officially come out to her children. It’s not surprising that her three sons, who were raised by Judith and her long-term partner, Sue, knew that their mother was a lesbian far before she told them and were fiercely protective of their two mothers.

She devotes another section of the book to her multiple health issues which stem, no doubt, from her poverty ridden childhood, and to her struggles with the medical establishment. In 1979, Judith was diagnosed with multiple sclerosis. Judith’s health issues are numerous and it is clear that we are lucky to have her with us on this planet. Hers is a voice that we were not meant to hear.

A strong feminist, Judith is a role model for valuing herself. In the 1996 U.S. presidential election, Judith was a write-in candidate prompted by her belief that she “was the best qualified of any of the candidates. Her belief was bolstered by,

“Clinton’s first shot at four years of Democratic leadership…Don’t Ask Don’t Tell sounds like a warmed over version of the Reagan’s ‘Just Say No.'”

When I read The Rules, a novel by S. Renee Bess, I was reminded that truth can be found in fiction. Ranee is a Black lesbian and in these pages we meet an assortment of characters, most of them Black lesbians, at least one of whom lives by the rules — meaning that she lives her life by a certain code of ethics but sometimes she is confused by what the rules are. The protagonist, a woman by the name of London, defends herself to her long-term lover who is leaving her.

“What do you mean?”
“You don’t seem sure about your blackness.”
“What are you talking about. I know I’m black.”
“Do you? You could have fooled me. Most of your friends aren’t black. You don’t talk like a black person. You couldn’t even keep working for a black-owned construction company.”
“My friends are all different colors. I speak the way I was taught to speak, and I left Clive Wittingham’s firm because I wasn’t climbing the ladder there, not because I didn’t want to work for a back man’s company.”

Two of the characters are profoundly influenced by their childhoods — and in fact we meet them as children when they were friends. As adults they are joined by a cast of characters complicated by intrigue and lesbian love. Equally intriguing to me was the prism of race and class.

I read this lesbian duo back to back and when the last page was turned, I felt the world split open — just a little.

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