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Breasts, Sexual Objects, Flash Fiction, and Teen Pregnancy: an interview with Candice Baxter

Candice Baxter’s piece of flash fiction, “In Public,” has just been published on The Fertile Source. Here, I talk with her about that piece, writing, and her own personal journey.

In “In Public,” your piece of flash fiction, I love the way you characterize women’s ambivalent feelings about breasts-how they are a source of life but also a source of sexual pleasure and objectification. Was there an incident that sparked this piece for you?

I watched a documentary on Joe Francis, the creator of the Girls Gone Wild video series, and it affected me so much that I decided to dress up like a girl gone wild for Halloween. I wore jeans, a nude body-suit (drawn on belly button and butterfly tattoo), a child’s football jersey pulled above my boobs, and a printed black and white sign pinned across my chest. CENSORED. The reactions I got prompted me to think about men’s attitude toward breasts, especially college girls’ [breasts], before motherhood takes its toll. And it’s not just men. From a young age, girls learn from peer reactions that big breasts equal sexy. Fashion promotes a nice rack.

But women’s bodies change so much during and after pregnancy. The wonderful process of a mother’s body producing milk to nurture her young is amazing, a personal mixture of nutrients for her baby, but sometimes the “sexy” goes away. Breasts are for feeding. After the nursing period is over, women want to reclaim their sexuality. Add in media promotion of cleavage in commercials selling everything from website domain names to gel deodorant. Thousands of us buy growth pills, chicken cutlet bra inserts, push-ups, under-wires and posture shaping straps. We try to make them like they were before, but for most women, perky breasts are the first in a long list of motherhood sacrifices. This piece draws a definite line, focusing more on function and less on appeal.

What process did you use in writing this piece?

Before I sat down to write, I transcribed pages of Gertrude Stein’s “What Are Master-pieces and Why Are There So Few of Them.” In her style of repetition, after all, she is the one who said, “A rose is a rose is a rose.” But is it? Each time a word or image is repeated, especially in a short work, it resonates meaning. In my piece, the first mention of milk refers to an engorged pain inside the mother’s body, an internal image of suffering. The next occurrence shows an external image of milk, not one of nurturing a child, but of wasted milk that never reaches the lips of the baby. It represents the many involuntary sacrifices mother’s make for children, however indirect or unnoticed. The third “milk” refers to the actual liquid, which is now a metaphoric image with more meaning than if I had only presented breast milk once in the whole piece.

Another word repeated in the piece is “creation” or some variation thereof. This technique of repetition does not so much depend on a metaphor as it is applied to the sounds of language, like a stanza. I make a word sandwich: (bread) I mention “plump,” “perky,” and “round.” (meat, tofu, cheese, whatever your pleasure) I use “creation” thrice in two lines for poetic impact. I liked the long vowel sounds packed together in the word-the turn of your voice in the middle when you say it out loud. (bread) I immediately follow up with another “plump, perky, or round.”

Only once in the next paragraph, after all the milk repetitions and images and metaphors, does the word “creation” appear again. It refers to the mother’s belly button, a sign that she herself was once a baby.

It sounds as though, in this short piece, you pay as much attention to the sounds of language as any poet. Can you talk about the similarities (as well as perhaps the differences) between poetry and flash fiction?

Flash fiction develops a sympathetic character and some sort of narrative. Working to do both of these things in such a tight space, each word has to count. Utilizing an element of poetry adds another layer, another connection to reach the reader through sound. But you still have to tell a story and set a scene. With access to the vast amount of words in the English language, if a specific word gets repeated in a short piece, there better be a good reason.

I’m wondering if you’d tell us what it was like to have a teen pregnancy in the deep South in the heart of the Bible belt. How did that shape you as a person and as an artist? Do you now focus on writing issues related to the female body in part because of your early experiences?

Truth is, teenage pregnancy was truly hard and filled with struggles I would never wish on my child, but with modern society’s programs, it wasn’t so terrible. I attended high school in the general population, went to prom, and graduated with honors. Because every decision I made was based on what was best for my daughter, life was not woe-is-me horrible. I worked three jobs, was on food stamps and welfare, got a Pell grant for college, earned a degree, and built a corporate career. Young single motherhood was just a part of everyday life. The hardest times came when my daughter turned ten and asked to live with her father in the small town where it all began. I was afraid, not for her, but for myself. She was born on my 18th birthday. I had never been an adult without being a full-time mother. And I let her go.

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The Value of Art

I’ve always been attracted to books that explore the darkness of humanity rather than books that explore sweetness and light. When I’m compelled by a romance within a book or a movie, it’s because the romance offers a three-dimensional understanding of how relationships work—the dysfunction and darkness riddled through with grace and redemption, or vice versa.

I think this is one reason why Flannery O’Connor’s work is read widely by people in the world and misunderstood by religious people. She saw grace emerging right in the middle of sin, mushrooms growing in manure, and she didn’t try to mitigate the ugliness of evil even while she demonstrated the human capacity for redemption in the midst of it. Her stories are completely believable, whereas the message that the church sent me while I was growing up—that redemption is found only in places and people that have already been cleaned up and redeemed and sanitized—I discovered to be patently false as I grew older.

Lately, I’ve been reading a ton of mysteries and thrillers. The central mystery of my life—the human need for redemption, the fact that some people seek it and others run away from it—revolves around deeper things than murder or kidnapping or the myriad of crimes that crop up in mysteries. Yet crime plays a huge role in my understanding of redemption.

I’m terribly concerned by what I see all around me: how our society punishes people for being poor; how it ghettoizes poor people and then lets those neighborhoods rot and wallow in crime; how imprisonment is part of the status quo for young people growing up in poor neighborhoods, not because those kids start off bad but because there are few alternatives open to them beyond crime and gang life; how we feel justified in harsh prison sentences—after all, we’re protecting the rest of society from the bad guys; how we offer little that could uplift or redeem people out of violence and crime and poverty.

We offer neither mercy nor justice through our legal system or our welfare system or our education system.  And we don’t uplift through those programs either. Though like anybody, I want to be protected from violent and evil people, I also understand the terrible cycle our society has created: though not solely responsible for what humans will do, we help create and maintain the criminal elements, and then we punish it. I’m horrified by the fact that we (both liberals and conservatives) pay enormous amounts of money for (and agitate for) systems that perpetuate the problem rather than alleviate it.

I’d like to see more redemption and less darkness. But I don’t know how to achieve it in human society, which often seems hopelessly corrupt to me. Yet I do see art as a shot of light in an otherwise dark situation. All forms of art—literature, music, film, paintings, etc—have the ability to reveal the truth of both darkness and light in a way that our political, legal, and educational systems can’t.

I guess that’s why I never became a political activist and, instead, spend my days reading and writing.

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Womanhood, Fertility, & Identity

In college, my best friend once described her hips as “child-bearing hips.” She knew back then that she wanted children and, indeed, now has six beautiful and healthy daughters.

Me? I didn’t even know what hips were. Literally. If somebody had provided me pictures of two headless bodies-one male, one female-I wouldn’t have been able to distinguish the outline of hips on the female body.

A boyfriend once pointed out a transvestite, then said, knowingly, “You can always tell the difference between a woman and a transvestite. A transvestite lacks hips.”

My response? “Huh?” The transvestite looked like a perfectly beautiful woman to me!

***

I was never one of those women whose overwhelming desire in life was to have children, what some childless men and women have sneeringly referred to as a breeder.

Motherhood was simply never one of my goals.

One of the reasons I left organized religion, in fact, was the emphasis it all too often places on motherhood. I always felt devalued as a woman in the Christian church, and it never comforted me to have my feminist concerns pooh-poohed with a well-meaning, but completely off the mark, comment like this: “But women are completely valued in the church. There’s nothing more important than motherhood. That’s the most important role in life, male or female.”

I heard a preacher one time say that he was sick and tired of hearing people say that God doesn’t value women. “God chose a woman to carry his only begotten son,” he said. “That should prove how valuable women are! They’re more valuable than men!” (I didn’t have the guts to raise my hand and ask if he actually thought God would have chosen a man to give birth to his only begotten son, which would have truly been a miracle….but I definitely thought about it.)

Whenever I heard the emphasis on motherhood in sermons, I wanted to ask: If women are valuable because they are mothers, what happens to a woman’s value if she’s infertile? Or if she can conceive, but her body is incapable of carrying a baby to term? If women are valued precisely because they are mothers, does a woman cease to be valuable if she is unable or unwilling to contribute to the ongoing human gene pool? And are women to be valued for nothing else? Can’t they be valued as scientists, artists, educators, and healers? What about being valued because we’re funny, smart, thoughtful, or we make a good friend?

I never got around to asking those questions. I just stopped going to church. I was tired of crying all the time, tired of fighting people with stupid ideas about what constitutes a person’s value.

I’d go as far as to argue that this strong correlation between motherhood and saintliness, and the conflation of our value as women with our fertility, can be labeled as spiritual abuse.

A person is valuable because of who they are, not because of the fertility-related identity role(s) they assume in life, roles such as wife, mother, grandmother. A woman should never be valued simply because of her ability to conceive and bear a child, just like a man should never be valued simply because he produces viable sperm.

So why do so many women’s self-images founder on their ability to conceive and bear a child, to successfully raise functioning members of society-at-large?

***

I never thought of myself as a slow learner, but when it comes to parenthood, I’m definitely a late-bloomer.

Throughout my twenties, I was grateful that I didn’t have children. The life of an artist is hard enough without adding babies to the mix, I thought.

When I first got married in my mid-twenties, my husband (now ex) and I planned to remain blissfully childfree. I hadn’t anticipated, then, that my biological clock would kick in with a vengeance as I approached thirty. Suddenly, to my surprise, I wanted kids. Oh, not the goobery, snotty-faced, diaper-rashed babies that grow up into delightful, creative, intelligent young people; no, as I approached thirty, I suddenly realized that I’d be thrilled if my children could emerge from my womb, already 10 or 11 or 12 years old. Talking in complete sentences. Potty-trained. Relatively independent already. You know, little adults.

This was an impossible dream, of course, unless I was willing to adopt an older child and deal with the potentially debilitating emotional problems they might have-always a crapshoot.

In lieu of heading down that path just yet, my husband and I have recently been trying for the flesh-and-blood variety, a normal baby conceived in the normal way pushed out of a normal vagina at the normal age of 0 months’ old. I guess I’m willing to subject myself to sleepless nights, poopy diapers, and sore breasts so I can get that pre-teen, teenager, college-student, and adult child I long for down the road.

But even as I embrace my identity as a woman “TTC” (a popular internet acronym that stands for “trying to conceive”), I still vacillate in my desire for children and it has to do with that fragile thing called identity.

There is always one solid reason for me to give up on the idea of motherhood: my identity as an artist. I’ve worked hard to get to the place where I am. I write five or six hours every day, and then teach college writing classes and run my small literary press on top of that. Recently, I’ve started working as a writing coach, and offering private writing classes in my home for children, teenagers, and adults. I easily put in twelve hours a day. It’s hard to imagine how I’ll balance all of that with motherhood.

It’s when I contemplate the vast gulf between what I desire to do with my life and the reality of raising children that I begin to wonder if I really want them.

Yet just when I think I might be “okay” with foregoing the pleasures of parenting, I realize I’m still captive to the idea that being a woman means being a mother. Intellectually, I know that this is a false belief. Emotionally, somewhere deep inside of me, I still believe that to live a full life, experiencing the full range of human emotions, requires adopting the role of parenthood, however your children come into your life.

Why the hell do I continue to associate my value as a woman with my fertility?

And so, I’m on the verge of giving up, of saying, “No more. I don’t want to try to get pregnant any more. That doesn’t mean I’ll try to prevent pregnancy, but I don’t want my life to be dominated by cervical fluid, basal body temperature, and that period that comes late but inevitably comes.”

It’s true that I’ve only been trying for eight months but I’m already tired of the emotional roller-coaster. Twice, my period has been a week late. In those days when I think I might be pregnant, my mind jumps to sugary fantasies of what it’ll be like, and I’m overwhelmed by the I can’t wait-ness of it all.

And then the disappointment sets in when my basal body temperature drops, menstrual blood arrives, and I discover that I’m not, after all, pregnant.

I wonder how women do this over and over and over? You know, those women that try to conceive for years and years and years? Those women that go to heroic efforts, spend all sorts of time and money, all in their quest to have a child?

I don’t think I can keep it up.

I’m beginning to wonder if I’m willing to give up on the so-called “fullness of life experience” b.s. I was just blathering on about if it means some emotional sanity.

I’m fortunate. A few days ago, as we were having yet another discussion about my on-again off-again desire to get pregnant, my husband looked at me and said, “You are my world. I don’t need anything else.” And we once again talked about what we will do if we don’t get pregnant-move to South Africa or Mozambique, to the Caribbean, to Ecuador or Argentina or Brazil, or maybe to all of those places for a few years apiece. Or we could take in foreign-born foster children, generally teenagers by the time they make it here after spending years in refugee camps.

Without children, the world is our oyster.

But still, it all comes down to this crux issue: What does it mean to be a woman? What does it mean for me to feel valuable as a person?

We all, we all, need to learn to value ourselves apart from these roles we assume in life. For me, that includes the role of artist. If I replace motherhood with artist, am I really any better off? I’m still valuing myself by something that is transitory, fleeting. We don’t achieve immortality through our art. Nor do we achieve it by bearing offspring.

As I move forward TTC, or not TTC, I hope I can learn to value myself as Jessica with no titles attached to my name.

***

Last November, I had a dream about motherhood and identity. In the dream, I was in a house, surrounded by women I know who have young children. I wandered from person to person, but I couldn’t relate to any of them. In fact, I felt inferior as I talked with them-there was a sense in which all of them had experienced a part of womanhood that I lacked, and so we couldn’t connect. I felt, well, robbed. And even as I tried to interest them in non-motherhood-related topics, I realized what I was doing: they seemed to think I was inferior because I wasn’t a mother and so, subconsciously and nastily, I was trying to turn the tables by demonstrating that I’d had an interesting career and had traveled to so many exotic locales and done so many interesting things that they would never do, encumbered as they were with snot-faced babies and dirty diapers.

Eventually, not liking that dynamic one tiny little bit, I separated myself from the mothers with babies and went to another part of the house. There, I was joined by my many African friends, and we discussed Africa, and politics, and health, and religion, and we ignored the issue of motherhood. Though many of my African friends are also parents, I felt none of the distance I’d felt from my mother-friends, who were treating me as though I was less of a woman because I wasn’t a mother.

I woke up and felt a moment of grief, like the dream was telling me I’d lost my chance at motherhood, that I’d traded it in for Africa and my writing.

On reflection later, I realized that of course, I have never given up my dream of motherhood-until the last few years, I didn’t have a spouse with whom I could have children. Instead, the dream was speaking to me about my hidden desire to be a mother as well as the obvious calling on my life to Africa and as a writer. My desire to have it all.

It was also reminding me of this unassailable truth: While all the other women in the room had chosen motherhood first-and let me add, they are all young women I admire, who have made the choices they wanted to make by choosing children over career, at least for the time being-I had chosen it second. And ultimately, I found myself in a room with the people I had chosen: Africans.

It was a revelation.

As I embark on this next stage of my life, trying to get pregnant, I’m constantly filled with doubts. Sometimes I wonder if motherhood is what God intends for me, or even if motherhood is something I want to add to my mixture of things I’ve already chosen (or that has chosen me)-Africa and writing. Sometimes I feel desperate to be pregnant, now, and sometimes, I secretly hope I’m not pregnant, so that nothing needs to change. In fact, I worry about how motherhood will prevent me from doing the things I feel I’m supposed to do, in Africa, as a writer-those vague, hazy outline of things that make up my future. I’m still waiting for the clarion call from God, the angel of the Lord appearing to me in a dream, the way he did with Mary and Joseph, and telling me, “This is what you’re supposed to do. I’ve arranged everything for you. It won’t be easy but at least there’s no doubt about it.”

But that’s too easy and, in all likelihood, false. The path that God marked out for Mary and Joseph must have seemed hazy and uncertain to them. It is only clear in retrospect, when written about as a narrative, a narrative that brooks no other possible paths.

I wonder how fearful and frustrated Mary and Joseph must have felt as they walked down that road, wondering all the time if they could veer in a different direction, or if they even wanted to, or if this was really the path they were supposed to be on and if they weren’t just fooling themselves.

I wonder how much of this path I’m following I charted myself, and how much has been charted for me.

I suppose I’ll never know.

And, at least some of the time, I’m okay with that.

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Birthdays and Me

 You never really know what a jealous, icky person you are until someone you don’t like (or maybe you even like them, there’s just a teensy-weeny tiny part of you that obviously wants to rub it in their face when you are Ms. Gorgeous and Successful and Rich and Famous and they become homeless, lalalalala) succeeds in an area where you’ve been trying for years to succeed. Read More

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Femi Kuti Live at the Fillmore

femi-kuti-20080429041526075-000We saw Femi Kuti live at the Fillmore last night. It was a lively show and you couldn’t help but dance! African jazz beats, three sexy women backup singers (I wish young women obsessed with being thin could somehow see that all their extra poundage didn’t diminish their sexiness one iota–sexiness is an attitude, not a size), an amazing voice…it all added up to 2 hours of pure adrenaline and dancing.

When I went, I was feeling the writer’s blues but I already felt better a few songs in when he sang “Do Your Best,” a song he recorded with Mos Def and which you can listen to on Youtube if you click on the link.  You can only do your best. Then you will have to leave the rest. Ask your mama, she supported you. If you ask your papa, him supported you. Fabulous song to begin with but last night it reminded me that as an artist, I can put my best into everything and that’s all I can ask of myself. I can’t ask for success or popularity, I can’t make those things happen. But I can keep working to the best of my abilities and “leave the rest.” While it didn’t make my worries disappear completely (no, those keep coming back, like a dog to his vomit), I sure felt better for awhile.

This has nothing to do with the fabulous Femi, but I love the Fillmore as a concert venue. I’m always excited whether they’ll have made a poster for that night’s concert (they give them free), and I love the free apples for concert goers, which always leaves a sweet taste in your mouth as you leave the venue and head home.

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The Emotion that Defines You

I’ve mentioned before how I’ll listen to the same song or band, over and over, while I’m writing a particular novel. It helps me tap into the defining emotion of that particular character.

I’ve always known there were certain songs that reminded me of other people. For example, when I listen to “These Are the Days” by Busy Signal, I’ll always think of one of our friends who died suddenly last summer of a heart-attack. Read More

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The Gatekeepers

My previous post about The Cool Kids reminded me of the panel I organized for REFORMA’s National Conference in September. The panel consisted of the only 3 y.a. writers that I am aware of who have ever had a published young adult novel set in El Paso, Texas–J.L. Powers (me), Benjamin Alire Saenz, and Claudia Guadalupe Martinez; more depressing still, or perhaps more exhilarating still if you want to be unique, we are among only a handful-and-a-half of y.a. writers who have set our novels on the U.S.-Mexico Border. We were discussing why there are so few novels for teenagers that are set on the peripheries of our nation. Now, by peripheries, I don’t mean necessarily the borders, because teenagers in Minnesota are still growing up in mainstream society, whereas teenagers in El Paso are definitely not!

Benjamin Alire Saenz began to get quite excited as he discussed how the gatekeepers in the book world–agents, editors, publishers, and then librarians, teachers, and booksellers–have ghettoized literature about latinos set in a predominantly latino world such as El Paso. He mentioned how one of his books received a review that said something like “even though Saenz’s novel is set in El Paso, its themes resonate with the human condition, with things people everywhere grapple with.” (I’m paraphrasing.) Ben wanted to know why nobody ever writes a book review that says “even though so-and-so’s novel is set in New York, its themes resonate…etc. etc.” Ben sure knows how to stick it to The Man! I love the fact that he has remained faithful to his values, of writing about Latinos, of writing about El Paso, from El Paso. That fame and fortune aren’t why he writes.

I’m still young enough that fame and fortune seem elusively tantalizing. But when I really reflect on it, it’s nice not to be completely in the limelight. I remember remarking to Sara Zarr once that I wished my books sold as well as hers, and got as many reviews as hers, and she just said, “Careful what you wish for.” Touche!

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Sound Track

When I’m working on a novel, I usually listen to one or two c.d.’s obsessively. For example, I wrote The Confessional while listening to Sparta and The Mars Volta, both classic El Paso bands. I wrote Killing Isaac to Talib Kweli, Damian Marley (especially “Road to Zion”), and Blonde Redhead–music which evoked the rage and religion dominating that book. I wrote Witches, Healers, and This Thing Called the Future listening to Zola and Freshly Ground. Zola’s a South African kwaito star, and Freshly Ground does South African Afro-funk.

My writer’s group suggested that listening to music allowed me to get deeper into my character’s minds. I agreed, since the type of music I listen to for each novel has been so different. It made me feel like an artiste.

But my dad broke the news to me that really it’s just classic Pavlov conditioning. Like a dog salivating when he hears the little bell that signals he’s about to be fed, listening to that music signals to me that I’m about to be creative.

Pavlov isn’t nearly as romantic as being an artiste.

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The Quest for Healing #1

Recently, I was talking with a good friend of mine who has just become a doctor and started his residency. Because he’s Catholic and a doctor, I asked him whether he thinks people are ever healed miraculously.

“Doctors know that only about 20% of what we do is effective—and about 80% is luck,” he said. “I understand and believe that miracles can and do happen, that God works in mysterious ways.” Then he went on to say, “Miracles pertain to our environment.” He gave an example of a Bushman who is searching for days for water, and then finds it in an unexpected place after walking for days. That’s a miracle, he said, for the Bushman.

Though I like the idea that miracles pertain to our environment, this is actually no different than saying that miracles don’t exist. Miracles in this scenario are not works of God, they’re just something that we can’t explain yet. A geologist could probably explain why that Bushman found water where he did.

I actually don’t want to be a cynic, or a “science is everything” sort of person. But it bothers me that the diseases that get miraculously “cured”—like cancer—frequently have a legitimate scientific explanation for the cure. These healings are something science can track, can explain—cancer is healed through good nutrition or chemotherapy. Yet science has never discovered a cure for the diseases that also never get miraculously cured—like AIDS. Is this a nasty coincidence? Or does it point to something?

When I was in college, a Christian urban myth circulated among some of my friends that told the story about a young Christian woman who was walking to her car when two men tried to rob her. They took one look at her and took off running. Coincidentally, she volunteered at a prison or ran into her attackers in some other capacity (the details didn’t matter too much). She asked them why they took off running when she was clearly alone and vulnerable, it was dark, nobody was around. One of them said, “Are you kidding? This seven-foot tall muscular dude suddenly appeared right behind you and glared at me.” The woman concluded that God must have sent her guardian angel to protect her.

My instant response to this story was an overwhelming rejection of it. Great, something deep inside me cried. Good for her. But what about the rest of us who weren’t protected like that? Who were raped, or robbed, or attacked? What does that say about us? Or what does that say about God?

It doesn’t seem right to me that God will intervene, miraculously, for some favored persons—and not for the rest of us. I would have to say that this is not a God I think much of. And not a God from whom I would beg healing.

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Why I Write For Children: Authors Explain at the Children’s Authors Breakfast at the BEA

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I had a great time at the Children’s Authors Breakfast at the BEA. I can only wish that I was as funny as Eoin Colfer and Sherman Alexie, and I can also only wish that someday I’ll be as big as Judy Blume and Neil Gaiman. I was particularly anxious to hear them talk about why they write for children, as I’ll need to make an argument for more latino/-a writers writing for children at the Reforma National Conference in September.

Yes, Colfer really does look that geeky in real life.

Publisher’s Weekly has kindly written an article on the breakfast, saving me the trouble, but actually, it was much funnier in person than what the stolid article can possibly recreate. And yes, potty-mouth was the order of the day, as you can see from a few of the quotes…..even though all four of the writers involved don’t use a lot of profanity in their writing.

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For me, the highlights were not the quotes that PW used in its article. I was interested in Sherman Alexie’s references to how books saved him as a kid: Read More

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