tag:blogger.com,1999:blog-51602845868309668402024-03-13T03:50:54.271-07:00Chronicles of an Ordinary WomanThis is a discussion of a woman, an ordinary woman who participates in the everyday and commonplace acts of life. As she re-views (reminiscences) about her present, past, and future. This collaboration of, and interdependence between the visual and the verbal, forms an autoethnography of a woman’s life and explores a still developing, still evolving selfhood.Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.comBlogger181125tag:blogger.com,1999:blog-5160284586830966840.post-71106515168851858082024-02-18T12:15:00.000-08:002024-02-18T12:32:11.078-08:00Linda Rader Overman is so proud of her former student Natalie Grill who was a winner of the Oliver W. Evans Writing Prize in Fall 2023--Well done!!<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXxbhynJzfEd1zXm8B6fkoX5Mau9ygPkrOSHkqasIGa00zhAskgs1TmccrP0lKoNonICODkH9F5gupoWvAKvYs4wBr4xPt2vn6iWoE-OOHhc8XJVzh6gF27WAHbyP1hK2FojBk6a7LAzHXpOODnQEsWP-ibOJUXtu1wvOiAlspCXpoH4hl6Ba-P6FuwhW/s640/thumbnail_IMG_4158.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXxbhynJzfEd1zXm8B6fkoX5Mau9ygPkrOSHkqasIGa00zhAskgs1TmccrP0lKoNonICODkH9F5gupoWvAKvYs4wBr4xPt2vn6iWoE-OOHhc8XJVzh6gF27WAHbyP1hK2FojBk6a7LAzHXpOODnQEsWP-ibOJUXtu1wvOiAlspCXpoH4hl6Ba-P6FuwhW/s320/thumbnail_IMG_4158.jpg" width="241" /></a></div><p><br /></p><h1 style="text-align: left;"><a href="https://www.csun.edu/humanities/english" target="_blank">A Comparative Analysis of Spiegelman’s Maus II and Oster’s The Stable Boy of Auschwitz</a></h1><p><br /></p><!--[if !mso]>
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<div class="WordSection1">
<p class="MsoBodyText" style="line-height: 213%; margin-right: 5.65pt; text-indent: .5in;">It has been nearly eighty years since<span style="letter-spacing: -.05pt;">
</span>that decisive<span style="letter-spacing: -.05pt;"> </span>day when<span style="letter-spacing: -.7pt;"> </span>Auschwitz, the<span style="letter-spacing: -.05pt;"> </span>largest of the Nazi concentration camp complexes, was liberated
under<span style="letter-spacing: -.25pt;"> </span>Allied banners.<span style="letter-spacing: -.25pt;"> </span>And yet, it is unthinkable that humankind
will ever be completely free from the tragedy and atrocity of the Holocaust—nor
should we be. Engendered by<span style="letter-spacing: -.25pt;"> </span>Adolf
Hitler’s Nazi regime in Germany and radicalized by the onset of the Second
World War, the Holocaust was an anti-Semitic campaign that saw the systematic
extermination of some six million European Jews. When educating ourselves on
the grievous realities of a historical event such as this, no accounts are more
invaluable than those of survivors, many of whom have been brave enough to
render their personal experiences into published works. Through analyzing the
differences in format, narrational perspective, and focal themes between<span style="letter-spacing: -.55pt;"> </span>Art Spiegelman and Henry Oster’s
respective novels <i style="mso-bidi-font-style: normal;">Maus II </i>and <i style="mso-bidi-font-style: normal;">The Stable Boy of Auschwitz</i>, we can
better appreciate how both works distinctly<span style="letter-spacing: -.3pt;"> </span>contribute<span style="letter-spacing: -.35pt;"> </span>to<span style="letter-spacing: -.3pt;"> </span>Second<span style="letter-spacing: -.5pt;"> </span>World<span style="letter-spacing: -.5pt;"> </span>War<span style="letter-spacing: -.3pt;"> </span>and<span style="letter-spacing: -.3pt;"> </span>Holocaust<span style="letter-spacing: -.3pt;"> </span>literature,<span style="letter-spacing: -.3pt;"> </span>and<span style="letter-spacing: -.3pt;"> </span>also<span style="letter-spacing: -.3pt;"> </span>serve<span style="letter-spacing: -.35pt;"> </span>to<span style="letter-spacing: -.3pt;"> </span>expand<span style="letter-spacing: -.3pt;"> </span>and
challenge public perception of these catastrophic events.</p>
<p class="MsoBodyText" style="line-height: 213%; margin-right: 5.65pt; text-indent: .5in;">Both <i style="mso-bidi-font-style: normal;">Maus II </i>and <i style="mso-bidi-font-style: normal;">The Stable Boy of Auschwitz </i>are
classified as memoirs, but these two narratives vary importantly in terms of
format. The sequel volume to his avant-garde <i style="mso-bidi-font-style: normal;">Maus I</i>, <i style="mso-bidi-font-style: normal;">Maus<span style="letter-spacing: -.15pt;"> </span>II<span style="letter-spacing: -.15pt;"> </span></i>is<span style="letter-spacing: -.15pt;"> </span>a<span style="letter-spacing: -.2pt;"> </span>postmodern<span style="letter-spacing: -.15pt;"> </span>graphic<span style="letter-spacing: -.2pt;">
</span>novel<span style="letter-spacing: -.15pt;"> </span>not<span style="letter-spacing: -.15pt;"> </span>only<span style="letter-spacing: -.15pt;"> </span>written<span style="letter-spacing: -.15pt;"> </span>by<span style="letter-spacing: -.75pt;"> </span>Art<span style="letter-spacing: -.15pt;"> </span>Spiegelman,<span style="letter-spacing: -.15pt;"> </span>but<span style="letter-spacing: -.15pt;"> </span>illustrated<span style="letter-spacing: -.15pt;"> </span>by<span style="letter-spacing: -.15pt;"> </span>him
as well.<span style="letter-spacing: -.1pt;"> </span>What makes the graphic style
of this story so crucial to its effectiveness is Spiegelman’s decision to
depict human beings as rather crudely anthropomorphized animals. With Jews
represented as mice, Germans as cats, and the Polish as pigs, Spiegelman
provides a visual commentary on power-imbalance, racial prejudice, and loss of
humanity. Over the years, Spiegelman’s artistic approach to dealing with such
sensitive matters has generated as much controversy as it has critical acclaim,
but none can argue its evocativeness. Jagged-edged, darkly shaded images of<span style="letter-spacing: -.35pt;"> </span>Art sitting atop a fly swarmed mound of
naked, emaciated rodent corpses (Spiegelman 41.3) as seen in Chapter Two:
“Auschwitz (Time Flies)” are the sort that make readers necessarily discomfited
and that stay with them long after the page has been turned. In comparison,<span style="letter-spacing: -.2pt;"> </span><i style="mso-bidi-font-style: normal;">The<span style="letter-spacing: -.2pt;"> </span>Stable<span style="letter-spacing: -.2pt;"> </span>Boy<span style="letter-spacing: -.2pt;"> </span>of<span style="letter-spacing: -.4pt;"> </span>Auschwitz<span style="letter-spacing: -.2pt;"> </span></i>is<span style="letter-spacing: -.2pt;"> </span>a<span style="letter-spacing: -.2pt;"> </span>more<span style="letter-spacing: -.2pt;"> </span>traditionally<span style="letter-spacing: -.2pt;"> </span>autobiographical<span style="letter-spacing: -.2pt;"> </span>novel.<span style="letter-spacing: -.4pt;"> </span>With<span style="letter-spacing: -.2pt;"> </span>the assistance<span style="letter-spacing: -.25pt;"> </span>of<span style="letter-spacing: -.1pt;"> </span>Dexter<span style="letter-spacing: -.1pt;"> </span>Ford,<span style="letter-spacing: -.1pt;"> </span>Oster<span style="letter-spacing: -.05pt;"> </span>takes<span style="letter-spacing: -.1pt;"> </span>us<span style="letter-spacing: -.1pt;"> </span>readers<span style="letter-spacing: -.1pt;">
</span>on<span style="letter-spacing: -.05pt;"> </span>a<span style="letter-spacing: -.15pt;"> </span>harrowing<span style="letter-spacing: -.1pt;"> </span>journey—<i style="mso-bidi-font-style: normal;">his<span style="letter-spacing: -.15pt;"> </span></i>harrowing<span style="letter-spacing: -.05pt;"> </span><span style="letter-spacing: -.1pt;">journey</span></p></div><div class="WordSection2">
<p class="MsoBodyText" style="line-height: 213%; margin-right: 5.65pt;">—from
childhood to adulthood, internment to freedom, desperate survival to hopeful
normalcy. Without the visual rhetoric that Spiegelman is known for<i style="mso-bidi-font-style: normal;">, </i>the potency of <i style="mso-bidi-font-style: normal;">The Stable Boy of Auschwitz </i>resides in the absolute rawness of his
account. Oster’s vulnerability and candor makes reading this novel feel more
like a one-sided conversation than a story. For example, in the aftermath of a
random, pulse-racing massacre of<span style="letter-spacing: -.25pt;"> </span>Auschwitz
captives recounted in Chapter Twenty-Four: “In the Line of Fire,” Oster writes,
“If the Germans had seen that we had escaped from the courtyard, we were sure
that they would finish us off. I've never been more terrified in my<span style="letter-spacing: -.1pt;"> </span>life.<span style="letter-spacing: -.1pt;"> </span>I<span style="letter-spacing: -.1pt;"> </span>had<span style="letter-spacing: -.1pt;"> </span>to<span style="letter-spacing: -.1pt;"> </span>struggle<span style="letter-spacing: -.15pt;">
</span>to<span style="letter-spacing: -.1pt;"> </span>control<span style="letter-spacing: -.1pt;"> </span>my<span style="letter-spacing: -.1pt;"> </span>breathing<span style="letter-spacing: -.1pt;"> </span>when<span style="letter-spacing: -.1pt;"> </span>I<span style="letter-spacing: -.1pt;"> </span>finally<span style="letter-spacing: -.1pt;">
</span>got<span style="letter-spacing: -.1pt;"> </span>to<span style="letter-spacing: -.1pt;"> </span>our<span style="letter-spacing: -.1pt;"> </span>barracks.<span style="letter-spacing: -.1pt;"> </span>I<span style="letter-spacing: -.1pt;"> </span>found<span style="letter-spacing: -.1pt;"> </span>that<span style="letter-spacing: -.1pt;"> </span>I
had soiled my pants in my terror—I was a real mess” (102). No exaggerated
verbiage, no attempted eloquence, just the truth; the truth in and of itself is
poignant enough. But more on Oster’s narration later. For now, it is to be
acknowledged that while the formats of these two memoirs<span style="letter-spacing: -.25pt;"> </span>offer<span style="letter-spacing: -.25pt;">
</span>completely<span style="letter-spacing: -.25pt;"> </span>different<span style="letter-spacing: -.25pt;"> </span>reading<span style="letter-spacing: -.25pt;">
</span>experiences,<span style="letter-spacing: -.25pt;"> </span>they<span style="letter-spacing: -.25pt;"> </span>are<span style="letter-spacing: -.25pt;"> </span>equally<span style="letter-spacing: -.25pt;"> </span>successful<span style="letter-spacing: -.25pt;"> </span>in<span style="letter-spacing: -.25pt;"> </span>revealing the
horrors of the Holocaust.</p></div><div class="WordSection3">
<p class="MsoBodyText" style="line-height: 213%; margin-right: 5.65pt; text-indent: .5in;">Spiegelman and Oster’s survival narratives are further differentiated by
the fact that one is told from a secondhand perspective, and the other is told
from a firsthand perspective. While Vladek Spiegelman, Polish Jew and Holocaust
survivor, is the apparent protagonist of <i style="mso-bidi-font-style: normal;">Maus
II</i>, his son,<span style="letter-spacing: -.35pt;"> </span>Art, or<span style="letter-spacing: -.35pt;"> </span>Artie, is the author and true narrational
voice. This complex dynamic between survivor and storyteller is an additional
source<span style="letter-spacing: -.05pt;"> </span>of tension throughout the<span style="letter-spacing: -.05pt;"> </span>novel’s already tension- high events.
Because no matter how brutally thorough<span style="letter-spacing: -.3pt;"> </span>Art’s
father certainly was in communicating his experience, and no matter how
faithfully<span style="letter-spacing: -.3pt;"> </span>Art was able to then
artistically relate said experience, the younger Spiegelman can never fully
comprehend what it was to live through<span style="letter-spacing: -.15pt;"> </span>a<span style="letter-spacing: -.2pt;"> </span>Nazi<span style="letter-spacing: -.15pt;"> </span>concentration<span style="letter-spacing: -.15pt;"> </span>camp.<span style="letter-spacing: -.15pt;">
</span>In<span style="letter-spacing: -.15pt;"> </span>a<span style="letter-spacing: -.2pt;"> </span>moment<span style="letter-spacing: -.15pt;"> </span>of<span style="letter-spacing: -.15pt;"> </span>frustration<span style="letter-spacing: -.15pt;"> </span>while<span style="letter-spacing: -.2pt;"> </span>talking<span style="letter-spacing: -.15pt;"> </span>to<span style="letter-spacing: -.15pt;"> </span>his<span style="letter-spacing: -.15pt;"> </span>psychiatrist<span style="letter-spacing: -.15pt;"> </span>in Chapter Two, this is something that<span style="letter-spacing: -.4pt;"> </span>Artie admits: “My book? Hah! What book?? Some part of me doesn't
want to draw or think about<span style="letter-spacing: -.65pt;"> </span>Auschwitz.
I can’t visualize it clearly and I can't begin to imagine what it felt like”
(Spiegelman 46.1A). Conversely, in <i style="mso-bidi-font-style: normal;">The
Stable Boy of Auschwitz</i>, Henry Oster tells his own story, and as such,
there is a level of intimacy about this novel that is simply impossible for
Spiegelman to equal. This intimacy is entirely unromantic and at times
stomach-turning to read, as is especially the<span style="letter-spacing: -.05pt;">
</span>case<span style="letter-spacing: -.05pt;"> </span>in Chapter<span style="letter-spacing: -.25pt;"> </span>Twenty-Four. Before<span style="letter-spacing: -.05pt;"> </span>relating one<span style="letter-spacing: -.05pt;"> </span>of the worst traumas he endured at<span style="letter-spacing: -.65pt;"> </span>Auschwitz, Oster states, “In all the years since I was
imprisoned in<span style="letter-spacing: -.5pt;"> </span>Auschwitz, there is one
story I never talked about, one experience I never shared with anyone else”
(98). He then proceeds to describe in terrible detail what it was like to be
penned in with other unlucky victims when “Two machine-gun crews that had been
concealed in the trucks started firing, their muzzles flashing in the darkness,
spitting bullets right into the crowd of prisoners” (Oster
101). Susan Oster, second wife of Henry Oster, spoke to us about how her
husband was hesitant to share this event even with her, and when he did, it was
with weeping— so terrible was the trauma still. This should only cause us to
appreciate Oster’s vulnerability in this novel more. He is inviting the public
into the darkest, most tormented recesses of his memory, and it is frightfully
powerful. Now, to be clear, the deeply personal quality of Oster’s narrative<span style="letter-spacing: -.3pt;"> </span>in<span style="letter-spacing: -.25pt;"> </span>no<span style="letter-spacing: -.25pt;"> </span>way<span style="letter-spacing: -.25pt;"> </span>suggests<span style="letter-spacing: -.25pt;"> </span>that<span style="letter-spacing: -.25pt;"> </span>Spiegelman’s<span style="letter-spacing: -.25pt;"> </span>is<span style="letter-spacing: -.25pt;"> </span>somehow<span style="letter-spacing: -.25pt;"> </span>less<span style="letter-spacing: -.25pt;"> </span>authentic.<span style="letter-spacing: -.25pt;"> </span>Rather,<span style="letter-spacing: -.25pt;">
</span>having<span style="letter-spacing: -.25pt;"> </span>access to the
perspective of a survivor as well as that of a survivor’s child allows us
multi-dimensional insight into the suffering of Nazi persecuted Jews. </p><p class="MsoBodyText" style="line-height: 213%; margin-right: 5.65pt; text-indent: .5in;">Although there are definite thematic through-lines running between <i style="mso-bidi-font-style: normal;">Maus II </i>and <i style="mso-bidi-font-style: normal;">The Stable<span style="letter-spacing: -.25pt;"> </span>Boy<span style="letter-spacing: -.25pt;"> </span>of<span style="letter-spacing: -.45pt;"> </span>Auschwitz</i>—most<span style="letter-spacing: -.2pt;"> </span>essential<span style="letter-spacing: -.2pt;">
</span>being<span style="letter-spacing: -.2pt;"> </span>survival<span style="letter-spacing: -.2pt;"> </span>and<span style="letter-spacing: -.2pt;"> </span>trauma—Spiegelman<span style="letter-spacing: -.2pt;"> </span>and<span style="letter-spacing: -.2pt;"> </span>Oster<span style="letter-spacing: -.2pt;"> </span>offer different<span style="letter-spacing: -.15pt;"> </span>and<span style="letter-spacing: -.15pt;"> </span>independently<span style="letter-spacing: -.15pt;"> </span>edifying<span style="letter-spacing: -.15pt;">
</span>explorations<span style="letter-spacing: -.15pt;"> </span>of<span style="letter-spacing: -.15pt;"> </span>these.<span style="letter-spacing: -.4pt;">
</span>Trauma<span style="letter-spacing: -.2pt;"> </span>is<span style="letter-spacing: -.15pt;"> </span>a<span style="letter-spacing: -.2pt;"> </span>transmittable<span style="letter-spacing: -.2pt;"> </span>thing,<span style="letter-spacing: -.15pt;">
</span>and<span style="letter-spacing: -.15pt;"> </span>it is this theory that is
at the very heart of <i style="mso-bidi-font-style: normal;">Maus II</i>. In
Chapter Two, Spiegelman confronts intergenerational trauma head-on, exposing
through a therapy session how his psychology and identity have been negatively
altered by his father’s experiences during the Holocaust. To his psychiatrist,<span style="letter-spacing: -.3pt;"> </span>Artie confesses that despite the wholesale
success of his graphic novel, he often feels like a failure or a fraud for not
having survived what his father survived at<span style="letter-spacing: -.35pt;">
</span>Auschwitz. Abashed, he
says, “No matter what l accomplish, it doesn't seem like much compared to
surviving<span style="letter-spacing: -.2pt;"> </span>Auschwitz” (Spiegelman
44.3A). This comment then cracks open an important conversation<span style="letter-spacing: -.35pt;"> </span>about<span style="letter-spacing: -.25pt;">
</span>survivor’s<span style="letter-spacing: -.25pt;"> </span>guilt,<span style="letter-spacing: -.25pt;"> </span>which<span style="letter-spacing: -.25pt;">
</span>is<span style="letter-spacing: -.25pt;"> </span>another<span style="letter-spacing: -.25pt;"> </span>vital<span style="letter-spacing: -.25pt;">
</span>sub-theme<span style="letter-spacing: -.3pt;"> </span>of<span style="letter-spacing: -.3pt;"> </span><i style="mso-bidi-font-style: normal;">Maus<span style="letter-spacing: -.25pt;"> </span>II</i>.<span style="letter-spacing: -.25pt;">
</span>Between<span style="letter-spacing: -.75pt;"> </span>Artie’s petulant
attitude and Vladek’s overbearing expectations, father and son never did have
an easy relationship. Even after<span style="letter-spacing: -.05pt;"> </span>Vladek
has died,<span style="letter-spacing: -.55pt;"> </span>Artie harbors a lot of
resentment toward him, which he feels guilt over, considering all that his
father endured.<span style="letter-spacing: 2.0pt;"> </span>But<span style="letter-spacing: -.4pt;"> </span>Artie’s psychiatrist suggests that it was<span style="letter-spacing: -.4pt;"> </span>Vladek’s<span style="letter-spacing: -.2pt;">
</span>guilt<span style="letter-spacing: -.15pt;"> </span>as<span style="letter-spacing: -.2pt;"> </span>a<span style="letter-spacing: -.15pt;"> </span>survivor<span style="letter-spacing: -.15pt;"> </span>that<span style="letter-spacing: -.15pt;"> </span>caused<span style="letter-spacing: -.15pt;"> </span>the<span style="letter-spacing: -.15pt;"> </span>discord<span style="letter-spacing: -.15pt;"> </span>between<span style="letter-spacing: -.15pt;">
</span>them<span style="letter-spacing: -.15pt;"> </span>to<span style="letter-spacing: -.15pt;"> </span>begin<span style="letter-spacing: -.15pt;">
</span>with.<span style="letter-spacing: -.15pt;"> </span>He<span style="letter-spacing: -.15pt;"> </span>submits, “Maybe your father needed to
show that he was always right—that he could always survive— because he felt
guilty about surviving” (Spiegelman 44.3B). What he is saying, more or less, is
that Vladek’s survivor’s guilt and<span style="letter-spacing: -.35pt;"> </span>Artie’s
non-survivor’s guilt are inseparable. In Oster’s <i style="mso-bidi-font-style: normal;">The Stable Boy of Auschwitz, </i>Heinz’s trauma is exhibited as more
individual and more immediate.</p></div><div class="WordSection5">
<p class="MsoBodyText" style="line-height: 213%; margin-right: 5.45pt;"><span> </span><span> </span>Throughout
the novel, Oster never allows readers to relax, to get comfortable, which only<span style="letter-spacing: 2.0pt;"> </span>evinces the constant threat that Jews were
under. The worst part is that, in the end, it didn’t matter how well they
performed their assigned jobs; they had no control over whether they lived or
died, as is so violently exhibited in Chapter Twenty-Four. In that same
chapter, Oster talks about how, existing in that kind of reality, he had to
mentally remove himself from the trauma. But<span style="letter-spacing: -.1pt;">
</span>in<span style="letter-spacing: -.1pt;"> </span>doing<span style="letter-spacing: -.1pt;"> </span>so,<span style="letter-spacing: -.1pt;"> </span>he,<span style="letter-spacing: -.1pt;"> </span>like<span style="letter-spacing: -.1pt;"> </span>so<span style="letter-spacing: -.1pt;"> </span>many<span style="letter-spacing: -.1pt;"> </span>others,<span style="letter-spacing: -.1pt;"> </span>sacrificed<span style="letter-spacing: -.1pt;"> </span>a<span style="letter-spacing: -.1pt;"> </span>part<span style="letter-spacing: -.1pt;"> </span>of<span style="letter-spacing: -.1pt;"> </span>his<span style="letter-spacing: -.15pt;"> </span>humanity:<span style="letter-spacing: -.1pt;"> </span>“Even<span style="letter-spacing: -.1pt;"> </span>though<span style="letter-spacing: -.1pt;"> </span>we<span style="letter-spacing: -.1pt;"> </span>Jews
were being persecuted—and often executed—as a group, in order to survive in
this hellhole, you first had to look out for yourself. We were desensitized,
demeaned and dehumanized. We were like robots, doing whatever we could to stay
alive” (Oster 104). For these people, rewired by brutality and terror, or
reduced to their most animal selves, as Spiegelman portrays, survival became
the only objective. This is the most consequential theme in both <i style="mso-bidi-font-style: normal;">Maus II </i>and <i style="mso-bidi-font-style: normal;">The Stable Boy of Auschwitz</i>.</p><p class="MsoBodyText" style="line-height: 213%; margin-right: 5.45pt;"><span> </span><span> </span>Art<span style="letter-spacing: -.2pt;"> </span>Spiegelman’s<span style="letter-spacing: -.25pt;"> </span><i style="mso-bidi-font-style: normal;">Maus<span style="letter-spacing: -.25pt;"> </span>II<span style="letter-spacing: -.2pt;"> </span></i>and<span style="letter-spacing: -.2pt;"> </span>Henry<span style="letter-spacing: -.2pt;"> </span>Oster’s<span style="letter-spacing: -.25pt;"> </span><i style="mso-bidi-font-style: normal;">The<span style="letter-spacing: -.2pt;"> </span>Stable<span style="letter-spacing: -.2pt;"> </span>Boy<span style="letter-spacing: -.2pt;"> </span>of<span style="letter-spacing: -.45pt;"> </span>Auschwitz<span style="letter-spacing: -.25pt;"> </span></i>are<span style="letter-spacing: -.2pt;">
</span>comparable in that both make accessible the experiences of Holocaust
survivors. That said, it would be negligence to assume that one survivor’s
story is the same as another’s. Indeed, as discussed in this<span style="letter-spacing: -.05pt;"> </span>essay, the different formats, narrational
perspectives, and themes<span style="letter-spacing: -.05pt;"> </span>the authors<span style="letter-spacing: -.05pt;"> </span>present in these two memoirs are what
make them such valuable contributions to Holocaust and Second World War education.<span style="letter-spacing: -.35pt;"> </span>And yet, there are those who have claimed
that such upsetting, <i style="mso-bidi-font-style: normal;">honest </i>material
has no appropriate place in school curriculum. This conservative mentality has
been met with much objection, and the counterargument is simple: These books,
however difficult they are to read, are history, and history cannot be
censored. The Holocaust must be taught and studied because<span style="letter-spacing: -.1pt;"> </span>it<span style="letter-spacing: -.1pt;"> </span>happened,<span style="letter-spacing: -.1pt;"> </span>and<span style="letter-spacing: -.1pt;"> </span>because<span style="letter-spacing: -.1pt;"> </span>it<span style="letter-spacing: -.1pt;"> </span>could<span style="letter-spacing: -.1pt;"> </span>happen<span style="letter-spacing: -.1pt;"> </span>again.<span style="letter-spacing: -.1pt;"> </span>But<span style="letter-spacing: -.1pt;"> </span>if<span style="letter-spacing: -.1pt;"> </span>we<span style="letter-spacing: -.1pt;"> </span>are<span style="letter-spacing: -.1pt;"> </span>to<span style="letter-spacing: -.1pt;"> </span>have<span style="letter-spacing: -.1pt;"> </span>any<span style="letter-spacing: -.1pt;"> </span>hope<span style="letter-spacing: -.1pt;"> </span>at<span style="letter-spacing: -.1pt;"> </span>all<span style="letter-spacing: -.1pt;"> </span>for a better humanity, it is imperative
that we remember with active rumination the evil we are capable of.</p><p class="MsoBodyText" style="line-height: 213%; margin-right: 5.65pt; text-indent: .5in;">---Natalie Grill <br /></p></div>
Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-13460137943903304452023-08-24T15:09:00.000-07:002023-08-24T15:09:04.895-07:00Linda Overman interview on KLAA Radio 830am on your dial about her podcast THE LAST THING I WISHED I SAID -have a listen <p> </p><div class="css-1dbjc4n"><div class="css-1dbjc4n r-1s2bzr4"><div class="css-901oao r-18jsvk2 r-1qd0xha r-1inkyih r-16dba41 r-135wba7 r-bcqeeo r-bnwqim r-qvutc0" data-testid="tweetText" dir="auto" id="id__anwr6f901t7" lang="en"><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0">Exciting news to share KLAA 830AM on your radio dial Tammy Trujillo of Community Cares interviewed me about my podcast The Last Thing I Wished I Said
</span><a class="css-4rbku5 css-18t94o4 css-901oao css-16my406 r-1cvl2hr r-1loqt21 r-poiln3 r-bcqeeo r-qvutc0" dir="ltr" href="https://t.co/UuOzXqf0AS" rel="noopener noreferrer nofollow" role="link" target="_blank"><span aria-hidden="true" class="css-901oao css-16my406 r-poiln3 r-hiw28u r-qvk6io r-bcqeeo r-qvutc0">https://</span>thelastthingiwishedisaid.com</a><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0">
and it’s season one. It will be airing live this 8/20/23 Sunday at 5:30 AM and 10:30 PM.</span></div><div class="css-901oao r-18jsvk2 r-1qd0xha r-1inkyih r-16dba41 r-135wba7 r-bcqeeo r-bnwqim r-qvutc0" data-testid="tweetText" dir="auto" id="id__anwr6f901t7" lang="en"><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0">link to listen to interview anytime</span></div><div class="css-901oao r-18jsvk2 r-1qd0xha r-1inkyih r-16dba41 r-135wba7 r-bcqeeo r-bnwqim r-qvutc0" data-testid="tweetText" dir="auto" id="id__anwr6f901t7" lang="en"><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0"> </span></div><div class="css-901oao r-18jsvk2 r-1qd0xha r-1inkyih r-16dba41 r-135wba7 r-bcqeeo r-bnwqim r-qvutc0" data-testid="tweetText" dir="auto" id="id__anwr6f901t7" lang="en"><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0"><a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__drive.google.com_file_d_1fUOMZOr8kGUf-2D5vwJ13tHh4AXabB5lGF_view-3Fusp-3Ddrive-5Fweb&d=DwMFaQ&c=Oo8bPJf7k7r_cPTz1JF7vEiFxvFRfQtp-j14fFwh71U&r=6YKHqnNPCs6lKkSBdWk8w8XaZ6ZEhBZmX-eiPB1EBVg&m=HI3xr50qAozX4THQLARslu-pm1H-eIi96hbIjaYujuZSemaT53I0dKoQNuESnEqv&s=GEKuxZf-rU1KFKjqjlZSif4S14DMgg0hEtrPaO1YC0k&e=" rel="nofollow" target="_blank">Interview with Linda Overman on KLAA Community Cares with Tammy Trujillo</a> <br /></span></div></div></div>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-83979514476094824412023-06-05T17:29:00.000-07:002023-06-05T17:29:23.034-07:00Linda Rader Overman interviews Tiffany Bailey: parenting does not come with a rule book<a href="https://www.podpage.com/the-last-thing-i-wished-i-said/tiffany-bailey-parenting-does-not-come-with-a-rule-book/">Tiffany Bailey: parenting does not come with a rule book</a>: On the eighth episode of THE LAST THING I WISHED I SAID , Linda speaks to Tiffany Bailey Baumbach, Marriage and Family Therapist, who practices attachmen…Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-9732918524769336542023-06-04T00:26:00.002-07:002023-06-04T00:26:23.291-07:00Linda Rader Overman is so proud of her student Edwin Aguilar<p>My student, Edwin Aguilar, graduated from CSUN with his MA in Creative Writing. I am so proud of his achievement and his going into the teaching profession. Well done Edwin. I am honored that you asked me to participate in your MA hooding ceremony!<br /></p><p>Edwin's graduate project: "Kaledoscope." </p><p>Hooded by Linda Overman</p><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj_LqSR-B_Qy5O56W4ijiaYkGDUtwW9A9SzD_GW7VG7lt36haOOV2CPYSfLd44eZ90jgZo7OpnbftfT7AOR7erAvoX4ttK6zbSMc-Dwv46RiSu1zJSvXEAqz6RVtX9bEubmz53TA6RyCXSK9wlbB9ckEoxv-voRc_Qz98voPrMGc_4pt2OkdQGaqbEY9Q" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="640" data-original-width="480" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEj_LqSR-B_Qy5O56W4ijiaYkGDUtwW9A9SzD_GW7VG7lt36haOOV2CPYSfLd44eZ90jgZo7OpnbftfT7AOR7erAvoX4ttK6zbSMc-Dwv46RiSu1zJSvXEAqz6RVtX9bEubmz53TA6RyCXSK9wlbB9ckEoxv-voRc_Qz98voPrMGc_4pt2OkdQGaqbEY9Q" width="180" /></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiVlL-X95BFwjuhuPiixd56_h7DRK_i3RnSnj_AU7l0vFQLZK5_iSNeDdtvT4E-o8druTj2O7ni6X2THozya_O2UyZ5q38MGkU64-6sz1YvUUO-pi190qfRnt8MRlgzLQemKd_u7hqY3QQGBp9I8q4RCrny62qt6LGijJdcrxoXlGZvl4rQ4o_IV9oq7w" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="640" data-original-width="480" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiVlL-X95BFwjuhuPiixd56_h7DRK_i3RnSnj_AU7l0vFQLZK5_iSNeDdtvT4E-o8druTj2O7ni6X2THozya_O2UyZ5q38MGkU64-6sz1YvUUO-pi190qfRnt8MRlgzLQemKd_u7hqY3QQGBp9I8q4RCrny62qt6LGijJdcrxoXlGZvl4rQ4o_IV9oq7w" width="180" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiVlL-X95BFwjuhuPiixd56_h7DRK_i3RnSnj_AU7l0vFQLZK5_iSNeDdtvT4E-o8druTj2O7ni6X2THozya_O2UyZ5q38MGkU64-6sz1YvUUO-pi190qfRnt8MRlgzLQemKd_u7hqY3QQGBp9I8q4RCrny62qt6LGijJdcrxoXlGZvl4rQ4o_IV9oq7w" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiA29k086-RQd2GZMbn9t_-MQPQrdjonjWUkeIGdL67D5nVHBiHxgn_3BsIpDbHjfabqmRlMb_m9ri2m6oQUtStwcN9JZwwzY1AsxSuw0HywK1oMKrWXFBpOQJRk3bEbCoElEXylqiYGCZnhJpD5KDmlvZbchtQqXLQlWqo58gyn1Uq8auprjiusQKOMA" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="640" data-original-width="480" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiA29k086-RQd2GZMbn9t_-MQPQrdjonjWUkeIGdL67D5nVHBiHxgn_3BsIpDbHjfabqmRlMb_m9ri2m6oQUtStwcN9JZwwzY1AsxSuw0HywK1oMKrWXFBpOQJRk3bEbCoElEXylqiYGCZnhJpD5KDmlvZbchtQqXLQlWqo58gyn1Uq8auprjiusQKOMA" width="180" /></a></div><br /></div></div><br /><br /> <p></p><p><br /></p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-55556278575673066312023-06-01T17:25:00.002-07:002023-06-01T17:25:16.778-07:00Linda Rader Overman interviews Professor Janice Robinson misses her Mama Tish<a href="https://www.podpage.com/the-last-thing-i-wished-i-said/professor-janice-robinson-misses-her-mama-tish/">Professor Janice Robinson misses her Mama Tish</a>: On the seventh episode of THE LAST THING I WISHED I SAID , Linda speaks to Professor Janice Robinson, who teaches at CSUN in Africana Studies, Academic F…Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-61471282646910678582023-05-27T18:20:00.001-07:002023-05-27T18:20:37.581-07:00Linda Rader Overman interviews Professor Colette Claire prevented from attending her grandmother's funeral<a href="https://www.podpage.com/the-last-thing-i-wished-i-said/professor-colette-claire-prevented-from-attending-her-grandmothers-funeral/">Professor Colette Claire prevented from attending her grandmother's funeral</a>: On the sixth episode of THE LAST THING I WISHED I SAID , Linda speaks to Colette Claire who teaches at CSUN in the English, Humanities & Undergraduate S…Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-75067606904873294842023-05-16T19:22:00.005-07:002023-06-05T17:35:14.305-07:00Linda Rader Overman THE LAST THING I WISHED I SAID-Elyce Wakerman discovering her father<a href="https://www.podpage.com/the-last-thing-i-wished-i-said/elyce-wakerman-discovering-her-father/">Elyce Wakerman discovering her father</a>: On the fifth episode of THE LAST THING I WISHED I SAID , Linda speaks to Elyce Wakerman, author of Father Loss: Daughters Discuss Life, Love, and Why Los…Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-55542373474589060652023-04-27T22:14:00.002-07:002023-06-05T17:31:15.313-07:00Linda Rader Overman THE LAST THING I WISHED I SAID-Professor Jessica Stewart sees light even in the dark<a href="https://www.podpage.com/the-last-thing-i-wished-i-said/professor-jessica-stewart-sees-light-even-in-the-dark/">Professor Jessica Stewart sees light even in the dark</a>: On the fourth episode of THE LAST THING I WISHED I SAID , Linda speaks to Professor Jessica Stewart who shares the sudden loss of her mother, Sherry Duma…Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-23072843643967111152023-04-27T21:50:00.009-07:002023-10-10T18:05:03.606-07:00THE LAST THING I WISHED I SAID-"Magazine" by Blake Rose -lyrics express our journey losing our daughter 2021 to drug addiction<p></p><div dir="auto"><div class="x1iorvi4 x1pi30zi x1l90r2v x1swvt13" data-ad-comet-preview="message" data-ad-preview="message" id=":r5j:"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">“Magazine” by @BlakeRoseMusic </div><div dir="auto" style="text-align: start;">lyrics express our journey losing our daughter 2021 to drug addiction so adroitly which is why I began THE LAST THING I WISHED I SAID podcast</div><div dir="auto" style="text-align: start;">follow us on Apple Podcasts or wherever you get your podcasts </div><div dir="auto" style="text-align: start;">Direct link </div><div dir="auto" style="text-align: start;"><a href="https://www.thelastthingiwishedisaid.com/">https://www.thelastthingiwishedisaid.com/</a></div><div dir="auto" style="text-align: start;"><span> </span></div><div dir="auto" style="text-align: start;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNaTQVmh_KG5Dv-DeOpDy_Q-WSdfFyI00oel4W3MontLTTfEhAFA_rR2vp-i7ELp0n19ZLEkSRtlhgEjj58ZeygYKGsEQmPSPYDJl79gprppJllNQrSZSooBwrzrRyEnARK_HUyhjxwwzdI04HhlTlg4fR7pQfdoKsqnSxmRpdCBrR_lfQQEhnhw5-pw/s816/IMG_1984.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="816" data-original-width="612" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNaTQVmh_KG5Dv-DeOpDy_Q-WSdfFyI00oel4W3MontLTTfEhAFA_rR2vp-i7ELp0n19ZLEkSRtlhgEjj58ZeygYKGsEQmPSPYDJl79gprppJllNQrSZSooBwrzrRyEnARK_HUyhjxwwzdI04HhlTlg4fR7pQfdoKsqnSxmRpdCBrR_lfQQEhnhw5-pw/s320/IMG_1984.heic" width="240" /></a></div><br /> </span></div><div dir="auto" style="text-align: start;"><span> </span></div><div dir="auto" style="text-align: start;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgiVlrSy0xzPdWY-ZQ6Sitdbi-iFJyr_5H-1uUwnmVpqZ1IXsYAi3Ap8oYRrt7nfSxEUJW52OiX0faLwidqhfwpVph_J5z5SZIthYohwWM0YQPv-Qv6KxfbADM5dveoIC0oGH0m9ATwgAC6ZR0cLjkXNw4wT6jEWukGh8clZaJ6von3LkyG_x9qpG1mA/s1000/canvas.png" style="margin-left: 1em; margin-right: 1em;"><br /></a></div><br /> </span></div></div></span></div></div></div></div>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-57390237943016399932023-04-16T12:06:00.003-07:002023-05-16T19:43:43.946-07:00THE LAST THING I WISHED I SAID -Linda Rader Overman podcast-Conversation with Kathy Bird-OMG She's My Sister<a href="https://www.podpage.com/the-last-thing-i-wished-i-said/conversation-with-kathy-bird-omg-shes-my-sister/">Conversation with Kathy Bird-OMG She's My Sister</a>: On the third episode of THE LAST THING I WISHED I SAID , Linda speaks to her newly discovered sister, registered nurse Kathy Bird, who talks about the lo…Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-31728930985156671492023-04-02T13:21:00.003-07:002023-05-16T19:44:19.717-07:00THE LAST THING I WISHED I SAID-Linda Overman interviews Susan Ware Actress, Writer, Painter<a href="https://www.podpage.com/the-last-thing-i-wished-i-said/susan-ware-actress-writer-painter/">Susan Ware Actress, Writer, Painter</a>: On the second episode of <b>THE LAST THING I WISHED I SAID</b> , Linda speaks to actress, writer, and painter Susan Ware who shares her grief over the loss of h…Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-53691306911313242462023-03-30T15:44:00.005-07:002023-03-30T15:44:59.268-07:00Linda Rader Overman is leading a creative writing workshop at Thousand Oaks Library <p>April 1, 2023 Saturday at 3PM --Appearing at <a href="https://www.tolibrary.org/Home/Components/Calendar/Event/27685/1144?curm=4&cury=2023" rel="nofollow" target="_blank">Thousand Oaks Library</a> and will be leading a creative workshop for beginning and aspiring writers. Teens 16+ are welcome to join.</p><p>Do join us!!</p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-71068657186440348442023-03-25T16:54:00.010-07:002023-06-05T17:30:35.013-07:00THE LAST THING I WISHED I SAID-Linda Overman has a new podcast THE LAST THING I WISHED I SAID listen to interview with Prof Mary Marca <p><a href="https://www.podpage.com/the-last-thing-i-wished-i-said/prof-mary-marca/">Prof Mary Marca</a>: Click here on the first episode of <a href="https://www.podpage.com/the-last-thing-i-wished-i-said/prof-mary-marca/" rel="nofollow" target="_blank">THE LAST THING I WISHED I SAID</a> , Linda speaks to retired Professor of Creative Writing Mary Marca, who
taught at California State University, Northridge for twenty years. Mary
shares her grief about the loss of her mother, Mabel Mary Pugh lovingly
known as Molly, and the helplessness of a sudden death.</p><p> </p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-12205427954122123592023-03-07T08:31:00.010-08:002023-06-05T17:30:09.617-07:00Linda Rader Overman shares The Last Thing I Wished I Said-Linda Overman's new podcast is coming have a quick listen!<p><a href="https://www.podpage.com/the-last-thing-i-wished-i-said/" rel="nofollow" target="_blank">My Podcast is coming have a listen to the trailer</a> </p><p><a href="https://podcasts.apple.com/us/podcast/the-last-thing-i-wished-i-said/id1676096736" rel="nofollow" target="_blank">Apple Podcasts</a></p><p><a href="https://podcasts.google.com/search/the%20last%20thing%20i%20wished%20i%20said" rel="nofollow" target="_blank">Google Podcasts </a></p><p><a href="https://open.spotify.com/show/5afuv52G8uvNU2NeTfrtWP" target="_blank">Spotfiy</a></p><p><a href="https://www.iheart.com/podcast/110276692/" target="_blank">IHEART Radio</a></p><p><a href="https://podcastindex.org/podcast/6043266" target="_blank">Podcast Index </a></p><p><a href="https://music.amazon.com/podcasts/f3e0a24f-bf53-4028-b670-96c336b2e971/the-last-thing-i-wished-i-said" target="_blank">Amazon Music</a></p><p><a href="https://podcastaddict.com/podcast/4281466" target="_blank">PODCAST ADDICT</a> </p><p><a href="https://www.podchaser.com/podcasts/the-last-thing-i-wished-i-said-5165849" target="_blank">PODCHASER</a></p><p><a href="https://pca.st/b9npqh9z" target="_blank">POCKET CASTS </a></p><p><a href="https://www.deezer.com/us/show/5835447" target="_blank">DEEZER</a></p><p><a href="https://player.fm/series/the-last-thing-i-wished-i-said" target="_blank">PLAYER FM </a></p><p>IG @ LindaOverman</p><p>Twitter @ThingWished <br /></p><p>Mastodon @ThingIWished@mastodon.social</p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-69369693904581611652022-12-04T14:22:00.004-08:002022-12-05T19:33:18.044-08:00Linda Rader Overman continue to be very proud of her students' critical film reviews of Mustang by director, Deniz Gamze Ergüven.<p><a href="https://www.csun.edu/humanities/english/students" target="_blank">@CSUN</a> </p><p>Winner Linda Nichols Joseph Award-<b> </b>2021</p><p>Winner Thomas Matthew Magness Graduate Memorial Fund -2022<b><br /></b></p><span><a name='more'></a></span><p><br /><!--[if gte mso 9]><xml>
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</p><p align="center" class="MsoNormal" style="line-height: 200%; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Outside
The Lowered Gaze</span></p>
<p align="center" class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Poststructuralist
Feminism in <i>Mustang </i></span></p><p align="center" class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">by<i> </i></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;">Jennifer Sams </span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><i> </i></span></p><p align="center" class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><i> <br /></i></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In
feminist theory, the male gaze positions the female identity between two
binaries: sexual objectification or indifference. Patriarchal discourse and
ideologies fuel a construct of womanhood whose subjectivity mirrors the power
structures that contain it. In contrast to the hyper-sexualization of the
Western gaze, the conservative and lowered gaze of Islamic piety still seeks to
control the limits and meaning of a woman's body through a critique of her
commitment to her family, beliefs, and community. Across cultures, the markers
of feminine identity bounce between extremes: stories of the virgin Guadalupe
and La Llorona, the angel on the hearth and the woman in the attic, or "the
Medusa and the abyss" (Cixous 885); the submissive/silent ideal or the
dangerous woman driven to madness from her inability to fit neatly inside the
cage of her construct. This concept of gendered imprisonment goes to a Turkish
village in Deniz Gamze Ergüven's film <i>Mustang</i>, a fragmentary story of
five orphaned sisters who live beneath the weight of Islamic conservatism. As
the girls attempt to navigate what it means to be female in their sociocultural
context, the male gaze and the community that patriarchal influence shapes
continually label their bodies impure. Feminist theorists like Helene Cixous
suggest that the only way to break through the construct of the narrow
limitation of the female identity is through subversion and giving voice to the
stories and experiences of women; the development of Écriture feminine.
Poststructuralist feminism realizes that universalizing binaries derives from
oppression and domination by understanding that language, knowledge, and
identity do not reflect reality; they define it. In Ergüven's <i>Mustang</i>, the
film centers on the perspective of the youngest sister, Lale, who re-signifies markers
of oppression through continuous attempts of self-actualization and self-agency.
The narrative scatters a bildungsroman through the lens of the most
marginalized character; Ergüven’s filmic eye echoes Cixous' solution of giving
voice to the voiceless with a poststructuralist feminist protagonist who
defines herself through cultural symbols traditionally intended to mark her as
unchaste, immoral, and powerless. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Poststructuralism
acknowledges that truth fluctuates and varies between specific discourses while
meaning has historical and social contexts. This mode of deconstruction is a
way of looking at "reality" as it relates to systems of knowledge.
Poststructuralist feminism, then, links to the fabricated dichotomy between men
and women and its correspondence to the artificiality of patriarchal power. In
"Constituting the Feminist Subject in Poststructuralist Discourse,"
Bronwyn Davies asserts that "poststructuralist feminism [envisages] a
radical deconstruction of the male/female binary and of essentializing
practices that [lock] individuals into particular subject positions or
categorizations" (Davies 88); A psychological jailbreak from the bars of contextual
oppression. Ergüven's protagonist quests for this liberation from binaries,
seeking agency in a male-dominated world while rejecting symbols of the
submissive Islamic feminine ideal. Both a tomboy and a young girl whose anatomy
fascinates her, Lale's persistent rebellion against her uncle Erol and the
tenets of Islamic modesty portray what Davies calls "a subject that
understands itself, in liberal humanist terms, as free and in control of itself
and responsible for its own fate" (Davies 88).</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>To
understand the discourse that defines Lale's reality, a viewer must have some
knowledge of patriarchal control in the film's setting, Turkey. Two significant
factors that influence the structure of gender in the village Ergüven depicts
are Mediterranean machismo and the Islamic private sphere of domesticity. In
Meltem Müftüler-Bac's article, "Turkish Women's Predicament," she
explains.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in; mso-add-space: auto;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>The Mediterranean family structure is based on
male superiority and female inferiority, which is reproduced by women
themselves as mothers and mothers-in-law...These results suggest the importance
of women as transmitters and protectors of dominant social values and norms.
The culturally defined modes of control in the Mediterranean region are deeply
vested in traditions and social norms constraining female behavior. Male
superiority is maintained through honor and shame codes and women's oppression
is justified by society's rules of appropriate behavior. (Müftüler-Bac 305)</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Erol exerts his superiority and authority while the
grandmother, the transmitter of social values, attempts to regulate female
behavior and reinforce the homogenous Turkish woman who is virtuous and valuable.
These features of conservative homelife escalate and reach a tipping point when
the family interprets the girls' innocent encounter with young boys as an act
of perversion. In poststructuralist fashion, Lale's definition of "inappropriate"
does not meet her uncle's, and her self-actualization as an entity beyond a
gender role begins. She starts to feel the walls of her home closing in on her
as tradition and domestic imprisonment become a punishment for the stress her
female identity puts upon society's sexist notion of a fragile social order.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>With
this awareness comes attempts at signaling a new identity, aligning with the
goal of poststructuralist feminism, to make visible the current form that
breaks from the influence of domination (Davies 90). Lale runs to the source of
misinformation, Mrs. Petek, upon the realization that society is distorting her
image, "Do your shit-colored clothes make you everyone's moral
judge?" (<i>Mustang</i> 8:29). This crude, juvenile insult speaks directly
to the role of complacent conservative Islamic women in the molding of a new
generation of girls. Lale is asking if submission to traditional practices
gives anyone <i>natural</i> moral high ground and begins to question the norms
put into place by a discourse that obsesses over modesty. This question
illuminates Lale's knowledge of a broken system, one in which she now
understands that the surveilling eye of neighboring women is a response to patriarchal
codes. Erol reinforces this notion when he tells his mother "if [the girls
are] sullied, it's your fault" (<i>Mustang</i> 10:27), unveiling the true
nature of cyclical trauma and gendered blame. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>After
Erol bans anything "likely to pervert" the young girls, Lale
interacts with her world differently and boldly. Elder women strip ties to
modernity (cellphones, computers, westernized clothing) to force the girls into
a state of cultural indoctrination, "the house became a wife factory that
we never came out of" (<i>Mustang</i> 15:26). In this process, the
grandmother trains the girls within the private, domestic sphere to secure
purity as it relates to patriarchal and social order. A significant scene that
signals the rift in generations and traditions is the destruction of
conservative clothing that represents chastity; Sonay rips the modest dress her
grandmother gives her. Each sister delights in making the dress "sexy"
and participates in pulling at the fabric of the identity their context imposes
upon them(<i>Mustang</i> 20:03). In addition, Lale experiments with other
symbols of agency Islamic tradition typically denies women, most notably the
alteration of her hair, the use of red heels, attendance at sporting events,
and the ability to drive. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in; text-indent: 0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Lale's rebellion intensifies as she
watches her sisters suffer in response to the weight of cultural tradition. In
the throng of physical and sexual abuse, virginity tests, and ultimatums, the
youngest sibling loses her support network to arranged marriages and the darker
consequences of oppression. In Poststructuralist feminist Helene Cixous'
seminal essay "The Laugh of the Medusa," the need "to smash
everything, to shatter the framework of institutions, to blow up the law, to
break up the "truth" with laughter" (Cixous 888) becomes a
working response to the stagnation of gender roles and powerplay. However, this
concept negatively manifests in the tragedy of Ece. The television narrates, <span style="mso-spacerun: yes;"> </span>"women must be chaste and pure, know
their limits, and mustn't laugh openly in public or be provocative with every
move" (<i>Mustang</i> 1:03:36) while Ece makes off-color jokes, encouraging
her sisters to laugh at the dinner table. She goes directly against the chaste
advice of the conservative ideology playing subtly on voiceover, irritating
Erol and signifying her fall from society; as a girl who has premarital sex,
she is essentially dead in her religious sphere. Her dismissal from the table
foreshadows an inability to reintegrate into a virtuous community; her suicide
becomes the only option left as her internal identity conflicts with her role
as a Muslim woman. Lale, more sensitive than ever to the invisible walls and
visible bars that box her into "femininity," desperately tries to
break free of the label, system, and order that maintains her. On the brink of
losing her last remaining sister, Nur, to marriage, Lale revolts by locking the
wedding party outside while taking autonomous agency. "We're playing hard
to get" (<i>Mustang</i> 1:17:40), she reasons, using a famous western
phrase while destabilizing the gender coding her family has put upon her.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in; text-indent: 0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Cixous' essay champions "liberating
the new woman from the old" and breaking away from depictions that rely on
masculine literary conventions. She suggests that through a process of Écriture
feminine, or the reflection of women's experiences in women's writing. “By
writing her self, woman will return to the body which has been more than
confiscated from her, which has been turned into the uncanny stranger on
display...[becoming] the taker and initiator, for her own right, in every
symbolic system, in every political process” (Cixous 880). This implies that
Ergüven's creation of a complex bildungsroman set from an honest female
perspective begins a process of reclamation and resignification. This concept
also mirrors Lale's declaration of bodily ownership towards the film's
conclusion. Cixous argues for abolishing gender binaries; beyond liberal and
radical feminism, she wants a state of wholeness for the female identity that
is not dependent upon a superior male counterpart (or a counterpart at all, for
that matter). The theorist has a warning for these dependencies, "Beware,
my friend, of the signifier that would take you back to the authority of a
signified! Break out of the circles; don't remain within the psychoanalytic
closure. Take a look around, then cut through!" (Cixous 892), and as if in
a video response, Ergüven presents <i>Mustang</i> and the embers of
poststructuralist feminist theory with a protagonist ready to play with symbols
and signifiers, ready to tell the community how <i>she </i>will design her
purpose and freedom.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Ergüven's
film certainly acts as a modern presentation of Cixous' Écriture feminine, but
it is how emotional honesty trumps social "truths" that is truly
impressive. Beyond being a female who accurately depicts female struggles in a
small, oppressive Turkish community, Ergüven creates a space of fluctuating
possibility for a young girl who arrives at self-awareness through hardship and
shame. <i>Mustang </i>reveals illusory power structures alongside its quick and
tight turning exposition to provide an experience that mimics the epiphanies
found in Lale's deconstruction of her surroundings. In her own right, the
protagonist becomes a budding poststructuralist feminist who blends masculine
and feminine characteristics while breaking free from the domination of
patriarchal knowledge. Ergüven uses her film to create a feminine discourse
through Lale that employs a feminine gaze of observation and reflection to
challenge the female body's typical objectification, criticism, and policing. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;">---by Jennifer Sams</span>, May 18, 2022</span></p><p></p><p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span></span></p><p>
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br clear="all" style="break-before: page; mso-special-character: line-break; page-break-before: always;" />
</span>
</p><p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>
<p align="center" class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Works Cited </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="background: white; color: #2d3b45; font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in; mso-add-space: auto; text-indent: -0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">Cixous, Hélène, et al. “The Laugh of
the Medusa.” <i>Signs</i>, vol. 1, no. 4, 1976, pp. 875–93, <a name="OLE_LINK1"></a><a href="http://www.jstor.org/stable/3173239"><span style="mso-bookmark: OLE_LINK1;">http://www.jstor.org/stable/3173239</span><span style="mso-bookmark: OLE_LINK1;"></span></a>. Accessed 1 May 2022.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in; mso-add-space: auto; text-indent: -0.5in;"><span style="background: white; color: #2d3b45; font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Davies, Bronwyn, et al. “Constituting the
Feminist Subject in Poststructuralist Discourse.” <i>Feminism & Psychology</i>,
vol. 16, no. 1, SAGE Publications, 2006, pp. 87–103, </span><a href="https://doi.org/10.1177/0959-353506060825"><span style="background: white; font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">https://doi.org/10.1177/0959-353506060825</span></a><span style="background: white; color: #2d3b45; font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in; mso-add-space: auto; text-indent: -0.5in;"><span style="background: white; color: #2d3b45; font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Ergüven, Deniz Gamze, director. <i>Mustang</i>.
Cohen Media Group, 2015.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in; mso-add-space: auto; text-indent: -0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>Müftüler-Bac, Meltem. “Turkish Women’s
Predicament.” Women’s Studies International Forum, vol. 22, no. 3, Elsevier
Ltd, 1999, pp. 303–15, </span><a href="https://doi.org/10.1016/S0277-5395(99)00029-1"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">https://doi.org/10.1016/S0277-5395(99)00029-1</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
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<p></p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-27470451925477368272022-10-28T19:56:00.002-07:002022-10-28T19:58:05.312-07:00So proud of this work my colleagues published Ch 15 in as it is such an important read: The Invisible Professor: The Precarious Lives of the New Faculty Majority<h2 style="text-align: left;"><span style="font-size: small;"><span style="font-size: medium;">My former CSUN colleagues <span class="markedContent" id="page310R_mcid6525"><span dir="ltr" role="presentation" style="font-family: serif; left: 188.912px; top: 241.728px; transform: scaleX(1.04207);"> </span></span></span></span></h2><h2 style="text-align: left;"><span style="font-size: small;"><span style="font-size: medium;"><span class="markedContent" id="page310R_mcid6525"><span dir="ltr" role="presentation" style="font-family: serif; left: 188.912px; top: 241.728px; transform: scaleX(1.04207);"> </span></span></span></span></h2><h2 style="text-align: left;"><span style="font-size: small;"><span style="font-size: medium;"><span class="markedContent" id="page310R_mcid6525"><span dir="ltr" role="presentation" style="font-family: serif; left: 188.912px; top: 241.728px; transform: scaleX(1.04207);"><a href="https://www.google.com/url?client=internal-element-cse&cx=016681109253828651092:6md46ky4kik&q=https://www.writing.ucsb.edu/people/jennifer-johnson&sa=U&ved=2ahUKEwi64rbOt4T7AhVYMEQIHZEODIEQFnoECAUQAQ&usg=AOvVaw1R5owuct-QhZH1H7EDwbTE" target="_blank">Jennifer K. Johnson</a> </span></span></span></span><img alt="Thumbnail image" class="gs-image" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQXktE6x08P5aEHP8xGGgwgqyHMIH7kvAhhb2eyzLtmtKyYU4Wjdft25nE" /><span style="font-size: small;"><span style="font-size: medium;"><span class="markedContent" id="page310R_mcid6525"><span dir="ltr" role="presentation" style="font-family: serif; left: 188.912px; top: 241.728px; transform: scaleX(1.04207);">and </span></span></span></span></h2><h2 style="text-align: left;"><span style="font-size: small;"><span style="font-size: medium;"><span class="markedContent" id="page310R_mcid6525"><span dir="ltr" role="presentation" style="font-family: serif; left: 188.912px; top: 241.728px; transform: scaleX(1.04207);"><a href="https://www.google.com/url?client=internal-element-cse&cx=016681109253828651092:6md46ky4kik&q=https://writing.ucsb.edu/people/nicole-warwick&sa=U&ved=2ahUKEwjjg6Odt4T7AhUxLkQIHaDiAP4QFnoECAMQAQ&usg=AOvVaw2hyxSjEUcXvaqXQYwkFxtn" target="_blank">Nicole Warwick</a> </span></span></span></span><img alt="Thumbnail image" class="gs-image" src="https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQN16Ffxb0rgED_OSrG5scdTHWa4BNl-Ye6BzdqjjfUiRv32rOnPqhp0Q" /><span style="font-size: small;"><span style="font-size: medium;"><span class="markedContent" id="page310R_mcid6525"><span dir="ltr" role="presentation" style="font-family: serif; left: 188.912px; top: 241.728px; transform: scaleX(1.04207);"> </span></span></span></span></h2><h2 style="text-align: left;"><span style="font-size: small;"><span style="font-size: medium;"><span class="markedContent" id="page310R_mcid6525"><span dir="ltr" role="presentation" style="font-family: serif; left: 188.912px; top: 241.728px; transform: scaleX(1.04207);">who are now at </span></span><span class="markedContent" id="page310R_mcid6526"><span dir="ltr" role="presentation" style="font-family: serif; left: 187.06px; top: 264.228px; transform: scaleX(1.3179);">University of California, Santa Barbara</span></span></span><span class="markedContent" id="page310R_mcid6522"><span dir="ltr" role="presentation" style="font-family: sans-serif; left: 164.922px; top: 97.9689px; transform: scaleX(0.958963);"> just published this article </span></span></span></h2><h2 style="text-align: left;"><span style="font-size: small;"><span class="markedContent" id="page310R_mcid6522"><span dir="ltr" role="presentation" style="font-family: sans-serif; left: 164.922px; top: 97.9689px; transform: scaleX(0.958963);"><br /></span></span></span></h2><h2 style="text-align: left;"><span style="font-size: small;"><span class="markedContent" id="page310R_mcid6522"><span dir="ltr" role="presentation" style="font-family: sans-serif; left: 164.922px; top: 97.9689px; transform: scaleX(0.958963);"><a href="https://wac.colostate.edu/docs/books/invisible/chapter15.pdf" target="_blank">"Reconsidering the </a></span></span><a href="https://wac.colostate.edu/docs/books/invisible/chapter15.pdf" target="_blank"><span class="markedContent" id="page310R_mcid6523"><span dir="ltr" role="presentation" style="font-family: sans-serif; left: 190.042px; top: 133.969px; transform: scaleX(0.952652);">Status of Contingency: Are </span></span><span class="markedContent" id="page310R_mcid6524"><span dir="ltr" role="presentation" style="font-family: sans-serif; left: 188.438px; top: 169.969px; transform: scaleX(0.917355);">These Really the Trenches?"</span></span></a></span></h2><h2 style="text-align: left;"><i><span class="markedContent" id="page310R_mcid6527"><span dir="ltr" role="presentation" style="font-family: serif; font-size: 17.5px; left: 80px; top: 307.936px; transform: scaleX(1.01892);">Lecturer. Assistant Professor. To those outside of academia, there is little to no</span></span><span class="markedContent" id="page310R_mcid6528"><br role="presentation" /><span dir="ltr" role="presentation" style="font-family: serif; font-size: 17.5px; left: 80px; top: 328.936px; transform: scaleX(0.993828);">recognition of the distinction between these academic ranks. But within U.S. ac</span></span><span class="markedContent" id="page310R_mcid6529"><span dir="ltr" role="presentation" style="font-family: serif; font-size: 17.5px; left: 633.77px; top: 328.936px;">-</span></span><span class="markedContent" id="page310R_mcid6530"><br role="presentation" /><span dir="ltr" role="presentation" style="font-family: serif; font-size: 17.5px; left: 80px; top: 349.936px; transform: scaleX(0.986071);">ademic circles, there is a huge disparity between them in terms of what they con</span></span><span class="markedContent" id="page310R_mcid6531"><span dir="ltr" role="presentation" style="font-family: serif; font-size: 17.5px; left: 633.77px; top: 349.936px;">-</span></span><span class="markedContent" id="page310R_mcid6532"><br role="presentation" /><span dir="ltr" role="presentation" style="font-family: serif; font-size: 17.5px; left: 80px; top: 370.936px; transform: scaleX(0.980876);">vey about job security, salary, privileges, and respect.</span></span><span style="font-size: small;"><span class="markedContent" id="page310R_mcid6524"><span dir="ltr" role="presentation" style="font-family: sans-serif; left: 188.438px; top: 169.969px; transform: scaleX(0.917355);"> </span></span></span></i><span class="markedContent" id="page310R_mcid6526"><span dir="ltr" role="presentation" style="font-family: serif; font-size: 16.6667px; left: 187.06px; top: 264.228px; transform: scaleX(1.3179);"><span style="font-size: small;"> </span></span></span></h2><h2 style="text-align: left;"><span class="markedContent" id="page310R_mcid6526"><span dir="ltr" role="presentation" style="font-family: serif; font-size: 16.6667px; left: 187.06px; top: 264.228px; transform: scaleX(1.3179);"></span></span></h2><h1 class="mura-page-title pageTitle">
<a href="https://wac.colostate.edu/books/practice/invisible/" target="_blank">The Invisible Professor: The Precarious Lives of the New Faculty Majority</a> </h1>
<p style="margin-top: 0em;">Edited by Natalie M. Dorfeld<br />
Copy edited by Karen P. Peirce. Designed by Mike Palmquist.</p><p style="margin-top: 0em;"><em>This edited collection, the first in the
Practices & Possibilities series to be published in its Voices from
the Field section, offers a rich set of narratives by writing
instructors who are serving or have worked in contingent positions.
Intended for anyone considering a career in the humanities, The Invisible Professor
seeks to reach individuals in three phases of their careers: those
thinking of entering the profession, those knee-deep in it and looking
for ways to improve conditions, and those who have vacated academic
positions for more humane alternative tracks.</em>
</p><p><i>As academia comes to a crossroads, with a disheartening shift towards
a more disposable business model, multiple solutions are desperately
needed. Faculty members in contingent positions are the new faculty
majority on college campuses, and they are most likely the first
professors students will meet. They deserve respect and a livable wage.</i></p><p style="margin-top: 0em;"><i> </i><span style="font-size: small;"><span class="markedContent" id="page310R_mcid6522"><span dir="ltr" role="presentation" style="font-family: sans-serif; left: 164.922px; top: 97.9689px; transform: scaleX(0.958963);">Love these Professors who are fabulous teachers and scholars and dear friends!! </span></span></span></p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-65794283762888527112022-10-04T15:42:00.003-07:002022-10-04T15:43:39.815-07:00<p> My colleague Professor Mary Marca, MFA (from CSUN) publishes much of her wonderful work --short stories that she publishes quite often--enough to make me jealous on her website <a href="https://marymarca7.wixsite.com/writer/reflections-pandemic-and-otherwise" target="_blank">Mary McCann Marca, Writer</a><br /></p><p>along with her blog musings the link is on her website. I am recommending this as a wonderful read!<br /></p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-74102093815491860912022-09-20T13:37:00.002-07:002022-09-20T14:07:15.204-07:00Linda Rader Overman is still proud of that poem from 1991 that expresses much of what was and what is <p>I published this poem back in 1991---how little I knew that much of it would remain so relevant in my life-still. </p><p>Thank you <a href="http://www.bombshelterpress.com/publication/8/" target="_blank">Bombshelter Press</a> and Jack Grapes for your classes and your wisdom so long ago.<br /></p><p></p><p><a href="http://www.csun.edu/loverman/docs/overman%20idontwanttogoonlivinginonthbusvol8&91991-3%20-%20Ocred.pdf" rel="nofollow" target="_blank">I don’t want to go on living</a><br /></p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-6854080273397696302022-09-07T22:52:00.000-07:002022-09-07T22:52:16.355-07:00Prof Linda Overman is so proud of her Phd colleague, Julie Staun, congratulations [OBE &] Honorary Fellow University of Cumbria<p><a href="https://www.youtube.com/watch?v=gUeE0ofImAs" target="_blank">Graduation Ceremony Wednesday 20 July 2022 3PM </a> </p><p>Spending a couple summers together at University of Cumbria- Lancaster, Julie Staun, and I shared rooms in the residence halls at University Cumbria - Lancaster with fellow students [some much younger than ourselves]. We enjoyed attending classes together, shopping for meals together, grabbing tea before and after class together. All the while forging ahead to obtain our PhD's while away from home, she from Denmark [albeit Julie was born in the UK], myself from Los Angeles. </p><p>Julie was awarded her doctorate at the age of 76 (mine came at the age of 63). Julie just became an Honorary Fellow at the Univ of Cumbria in recognition of her lifelong service in the field Occupational Health. This after being awarded an OBE in 2015.<br /></p><p>So proud of this brilliant woman and loved sharing some/many glasses of wine together on those long nights of study on campus on chilly Lancaster, Lancashire nights. </p><p>Watch her give her acceptance speech at 52 minutes in on the above link of the graduation ceremony. If she had lived here in Hollywood she would be running a movie studio and doing it with a passion and power as her life of service in the field of occupational health nursing all over the world shows. Love this woman! A force to be reckoned with. </p><p><a href="https://www.youtube.com/watch?v=Yfmhno5rmZc" target="_blank">Dracarys</a> Baby this gal is on fire!<br /></p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-68413051295578292292022-05-15T14:00:00.014-07:002022-05-17T19:48:00.177-07:00Prof Linda Overman is so proud of her CSUN honors student Janice Hill<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0192EmdzxPAWrqZKxw1zSOheDJP7dSb63VTFr41LD2LX1NWngOMTz8gvUjnxz5AvL06QPhZ_vjSV-e0VsZujXczS7rDgg_aVEXJ5liC-MCnLbUmh1iK0L_MC5clxuyqZH-8tdS8Z1NmjGnoqoH3bDVhewYFr7dVPbQgyxxiBOVHXhUrU_ISCc7k8FRQ/s4032/63FFA41F-C9E2-4EF1-B497-9D8994E1AFA5.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0192EmdzxPAWrqZKxw1zSOheDJP7dSb63VTFr41LD2LX1NWngOMTz8gvUjnxz5AvL06QPhZ_vjSV-e0VsZujXczS7rDgg_aVEXJ5liC-MCnLbUmh1iK0L_MC5clxuyqZH-8tdS8Z1NmjGnoqoH3bDVhewYFr7dVPbQgyxxiBOVHXhUrU_ISCc7k8FRQ/w150-h200/63FFA41F-C9E2-4EF1-B497-9D8994E1AFA5.jpeg" width="150" /></a></div><p>It was with much joy that I was invited to share in CSUN Honors Student, Janice Hill (currently in our MA in English program) receiving her University Academic Honors medallion at the CSUN yesterday 5/14/2022. Janice was my student for three semesters and was always an amazing achiever! Excellence was the only thing that she accepted and she truly earned this award of magna cum laude. BRAVO Janice and well done. It was also a pleasure to meet your parents. <br /></p><p></p><p><span style="text-decoration: underline;"><b> </b></span></p><p><span style="text-decoration: underline;"><b> </b></span></p><p><span style="text-decoration: underline;"><b> </b></span></p><p><span style="text-decoration: underline;"><b><a href="https://www.csun.edu/commencement/honors/" target="_blank">CSUN HONORS CONVOCATION</a>:</b></span><br />Honors
Convocation is designed to celebrate a select group of students on the
basis of Scholastic or Personal Achievement. Honorees will have received
an email invitation as well as a physical invitation which will arrive
by US postal around the same time. The ceremony typically lasts about an
hour where students are awarded with an Honors Convocation Medallion.</p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-67805152538350963582022-05-03T11:10:00.004-07:002022-05-03T11:16:04.398-07:00A Doctor's "11-Year-Old Patient Was Pregnant. Here's What I Want You To Know About Being 'Pro-Life.'"<p> </p><p><b></b></p><p><b>My 11-Year-Old Patient Was Pregnant. Here's What I Want You To Know About Being 'Pro-Life.'</b><br aria-hidden="true" />"Our
medical assistant came to me, panicked, and handed me a positive test.
... 'Run it again,' I sputtered — to buy some time and gather my wits
and hope by some miracle it would produce a different result."</p><p>Read in HuffPost: <a data-auth="NotApplicable" data-linkindex="0" href="https://urldefense.proofpoint.com/v2/url?u=https-3A__apple.news_AUklB3OB9T-5Fad2wY0PxI7Rw&d=DwMFaQ&c=Oo8bPJf7k7r_cPTz1JF7vEiFxvFRfQtp-j14fFwh71U&r=O7SfnrlADW2StjoFKTyrIqZh7RojNzfEnqsBE8kgm6M&m=0l1RxO_hxQh57zFUd59smNlsg8PiPsAkvogOxhBy5hfivJuHqVJtj812ubjsUP5O&s=LFrWGw-wjAbJjcGpQrWj3OrVt8YkdEw4c-Fe0DMtRzI&e=" rel="noopener noreferrer" target="_blank">https://apple.news/AUklB3OB9T_ad2wY0PxI7Rw</a></p><p>or below: <br /></p><div class="primary-cli cli cli-text "><p>One morning this past December, I woke up early to listen to judges with lifetime appointments question lawyers in a process <a class=" js-entry-link cet-external-link" data-vars-item-name="that may ultimately rob people of their reproductive freedom" data-vars-item-type="text" data-vars-position-in-subunit="0" data-vars-subunit-name="article_body" data-vars-subunit-type="component" data-vars-target-content-id="https://www.politico.com/news/2022/05/02/supreme-court-abortion-draft-opinion-00029473" data-vars-target-content-type="url" data-vars-type="web_external_link" data-vars-unit-name="6266e555e4b07c34e9e4cb27" data-vars-unit-type="buzz_body" href="https://www.politico.com/news/2022/05/02/supreme-court-abortion-draft-opinion-00029473" role="link" target="_blank">that may ultimately rob people of their reproductive freedom</a>.
And week after week since then, I continue to hear judges and lawyers
and politicians speak on issues they have no business speaking on ― as
far away from people and their real lives as voices from another planet.
</p></div><div class="primary-cli cli cli-text "><p>During these moments, I think of a little girl in an exam room I met many years ago. </p></div><div class="primary-cli cli cli-text "><p>She was my patient. She was 11. </p></div><div class="primary-cli cli cli-text "><p>We will call her Sophia.</p></div><div class="primary-cli cli cli-text "><div class="primary-cli cli cli-text "><p>She was quiet and soft-spoken —
a par-for-the-course, awkward adolescent who was uncomfortable
interacting with an adult. She answered my questions with one-word
responses and didn’t quite know where to look. </p></div><div class="primary-cli cli cli-text "><p>When
I left the room, I heard the booming voice in my head of an ER doctor
who had trained me: “Don’t be the ass who doesn’t order the pregnancy
test.” This was one of her clinical teaching pearls: Many young docs
will order the blood tests, the ultrasound, the CT scans, but skip the
most obvious, most basic test and spend tens of thousands of dollars to
work up a patient when the “diagnosis” is actually pregnancy.</p></div><div class="primary-cli cli cli-text "><p>Hence, don’t be the ass who doesn’t order the pregnancy test. So I ordered it.</p></div><div class="primary-cli cli cli-text "><p>A
few minutes later, our medical assistant came to me, panicked, and
handed me a positive test. “Run it again,” I asked her, agape. She ran
it again. Positive. “Run it again,” I sputtered — to buy some time and
gather my wits and hope by some miracle it would produce a different
result. Positive.</p></div><div class="primary-cli cli cli-text "><p>She was my patient. She was 11. She was pregnant.</p></div><div class="primary-cli cli cli-text "><p>I sat Sophia’s mom down in another room and quietly explained to her that the pregnancy test came back positive. </p><div class="primary-cli cli cli-text "><p>She didn’t understand. </p></div><div class="primary-cli cli cli-text "><p>I
had to repeat myself multiple times in various ways for her to
comprehend that Sophia was pregnant. Shock, tears, a cellphone call.
Soon a breathless dad showed up, followed by a somber family priest, and
then the cops. I remember the adults weeping in a prayer circle in a
separate room and the feeling of watching a nightmare unfold, and I had
to remind myself that, sometimes, the job is bearing witness to the
worst day of someone’s life. </p></div><div class="primary-cli cli cli-text "><p>I
tried in vain to coax the truth of what happened out of Sophia, sitting
next to her with a large anatomy atlas flipped open in my lap. She said
nothing. I was thankful there was a female police officer that was
among the throng at the clinic. It was this officer, when permitted to
speak with Sophia, who discovered the identity of the family member that
did this awful, unspeakable thing to her. And when the cops left to
arrest that relative, they headed to church, because the perpetrator was
at choir practice. </p></div></div><p> </p><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">I
recall my focus ― my clear understanding that my only job was to ensure
that I was there to protect my patient. That whatever happened, my job
was to make sure that at every moment, Sophia was centered, and her
mental and physical health were the priority. To make sure that she
could find her way, in the midst of this trauma and unspeakable crime,
and that her precious life was protected. </span></p></div><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">And
part of that included a pregnancy termination. We would make certain
she had access to it and was able to get it immediately.</span></p><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">There was no question that Sophia’s life mattered and it mattering meant that she would not be forced to give birth at age 11. </span></p></div><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">And she wasn’t.</span></p></div><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">I
think about Sophia all the time, especially these days. I think about
all the Sophias in clinics like mine, as abortion protections are struck
down in state after state ― </span><a class=" js-entry-link cet-external-link" data-vars-item-name="protections falling like wicked dominoes" data-vars-item-type="text" data-vars-position-in-subunit="1" data-vars-subunit-name="article_body" data-vars-subunit-type="component" data-vars-target-content-id="https://www.thecut.com/2022/04/which-states-are-restricting-abortion-in-2022.html" data-vars-target-content-type="url" data-vars-type="web_external_link" data-vars-unit-name="6266e555e4b07c34e9e4cb27" data-vars-unit-type="buzz_body" href="https://www.thecut.com/2022/04/which-states-are-restricting-abortion-in-2022.html" role="link"><span style="font-weight: 400;">protections falling like wicked dominoes</span></a><span style="font-weight: 400;">.
I think about the words “except in cases of the life of the mother.”
The choice made that evening of the awful revelation was for the life of
the mother. A mother that should have never been and thankfully wasn’t.
</span></p></div><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">And
though it might be easier to build consensus around abortion access for
an 11-year-old raped by a family member, the truth is that nobody,
anywhere, under any circumstance or in any situation should be forced to
give birth. Forced birth should never be a reality.</span></p></div><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">Sophia
is in her 20s now. I wonder how she has healed, how she has processed
that trauma. Did she get to go to college? Has she been able to trust an
intimate partner? Has she been pregnant on her own terms at the time of
her choosing? Does she have a child? I can see her wide face and her
soft smile in my mind’s eye and I know now, just as I knew then, that
the decision to terminate Sophia’s pregnancy, supported by the ones who
loved her the most, was a pro-life decision. </span></p></div><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">One
of the things my mind conjures up from that horrible day is the feeling
that the clinic was crowded. There was Sophia, her mom, then her dad
and the priest, and later the cops. There was the crying and the praying
and the disbelieving and the believing. I remember how small Sophia
looked. Her small face and her small hands and her small hips and how
this big, awful thing could happen to someone so small took the wind out
of the place.</span></p><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">I remember how tiny that clinic room felt. There was no room for </span><a class=" js-entry-link cet-external-link" data-vars-item-name="politicians signing evil bills flanked by child props" data-vars-item-type="text" data-vars-position-in-subunit="2" data-vars-subunit-name="article_body" data-vars-subunit-type="component" data-vars-target-content-id="https://www.cnn.com/2022/04/14/politics/desantis-signs-abortion-ban-florida/index.html" data-vars-target-content-type="url" data-vars-type="web_external_link" data-vars-unit-name="6266e555e4b07c34e9e4cb27" data-vars-unit-type="buzz_body" href="https://www.cnn.com/2022/04/14/politics/desantis-signs-abortion-ban-florida/index.html" role="link"><span style="font-weight: 400;">politicians signing evil bills flanked by child props</span></a><span style="font-weight: 400;"> as old as Sophia, no room for Supreme Court justices who claim to value life while </span><a class=" js-entry-link cet-external-link" data-vars-item-name="wondering aloud how pregnancy can be an undue burden" data-vars-item-type="text" data-vars-position-in-subunit="3" data-vars-subunit-name="article_body" data-vars-subunit-type="component" data-vars-target-content-id="https://www.businessinsider.com/amy-coney-barrett-asks-safe-haven-laws-solutions-unwanted-motherhood-2021-12" data-vars-target-content-type="url" data-vars-type="web_external_link" data-vars-unit-name="6266e555e4b07c34e9e4cb27" data-vars-unit-type="buzz_body" href="https://www.businessinsider.com/amy-coney-barrett-asks-safe-haven-laws-solutions-unwanted-motherhood-2021-12" role="link"><span style="font-weight: 400;">wondering aloud how pregnancy can be an undue burden</span></a><span style="font-weight: 400;">.
No room for those extraneous, unnecessary, useless others in that most
intimate of spaces. Our clinic rooms will always be too small for
anybody but providers and our patients.</span></p></div><div class="primary-cli cli cli-text "><p><span style="font-weight: 400;">And
we will fight for this sacred space, fight for it to be free of cynical
politicians and their divisive games. They have never been invited in
and we are not about to sit back or stand by while they force their way
in.</span></p></div><div class="primary-cli cli cli-text "><p><em>Note: Names and specific details have been changed to protect the privacy and safety of individuals mentioned in this essay.</em></p></div><div class="primary-cli cli cli-text "><div> <p><em>Dipti S. Barot is a primary care doctor and freelance writer in the San Francisco Bay Area. You can follow her on Twitter at <a class=" js-entry-link cet-external-link" data-vars-item-name="@diptisbarot" data-vars-item-type="text" data-vars-position-in-subunit="4" data-vars-subunit-name="article_body" data-vars-subunit-type="component" data-vars-target-content-id="https://twitter.com/diptisbarot" data-vars-target-content-type="url" data-vars-type="web_external_link" data-vars-unit-name="6266e555e4b07c34e9e4cb27" data-vars-unit-type="buzz_body" href="https://twitter.com/diptisbarot" role="link" target="_blank">@diptisbarot</a>.</em></p> </div></div><p><span style="font-weight: 400;"> </span></p></div><p><span style="font-weight: 400;"> </span></p></div></div><p> </p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-68034786842297688002022-03-25T14:56:00.007-07:002022-03-25T15:01:07.445-07:00Aunt Lute Books helped me honor Gloria Anzaldua's contribution to ground breaking scholarship<p></p><p><a href="https://www.instagram.com/p/CbicF2JPdAW/ ">auntlute We love seeing the reach Borderlands/La Frontera has had in the world! Linda Rader Overman cited Gloria Anzaldúa's work in their thesis. Have you used any Aunt Lute books in your work? Let us know! We'd love to share. </a></p><p> <span class="_7UhW9 xLCgt MMzan KV-D4 se6yk T0kll">"We
love seeing the reach Borderlands/La Frontera has had in the world!
Linda Rader Overman cited Gloria Anzaldúa's work in their thesis. Have
you used any Aunt Lute books in your work? Let us know! We'd love to
share. <br /><br />Linda Overman also shared some words on Anzaldua's influence in her work:<br /><br />"Watching
Gloria Anzaldua speak to a large audience of many hundreds at
California State University, Northridge cemented the value of her
brilliant Borderlands/La Frontera for me. This must have been around
1999/2000 or 2001 (I am not certain) but I was riveted by the power of
this tiny woman. She spoke with such authority about una herida
abierta, that wound that exists of being caught between two cultures.<br />I
felt a similar wound that day--as I am Mexican on my mother's side and
Caucasian on my dad's side. Similar to the conflict of physical and
psychological borders Anzaldua spoke of with its furious features of
hatred and anger --drove my parents to divorce as they were never able
to straddle either.<br />The power of that wound drove me to complete my
first Master's thesis Weaving the Fabric of Myself with a similar fury.
Anzaldua talked about the work she was endeavoring to weave into her
own PhD work as I recall. She showed slides of her imagery expounding
on this work. She apologized about not being a great artist as the
images looked like little stick figures. That did not matter however.
Her impact gave me the incentive to weave my thesis with a collection of
threads that made up the entire fabric of my life as the geography of
Anzaldua's life cemented the strength of her own hybrid existence. I am
forever grateful."<br /><br /><a class="xil3i" href="https://www.instagram.com/explore/tags/auntlutebooks/" tabindex="0">#auntlutebooks</a> <a class="xil3i" href="https://www.instagram.com/explore/tags/books/" tabindex="0">#books</a> <a class="xil3i" href="https://www.instagram.com/explore/tags/bookstagram/" tabindex="0">#bookstagram</a> <a class="xil3i" href="https://www.instagram.com/explore/tags/indiepublishing/" tabindex="0">#indiepublishing</a><br /></span> </p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-65863183102954079472021-12-21T11:05:00.002-08:002021-12-21T11:13:57.742-08:00Memorial Trees Planted in memory of Deva Marie Overman our dear departed daughter <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj2My6eMeestv9rJzIPOLSN0_5AQ1ZKPY8lraI6xT34uhPlMQHc_OTd_BLVX0RhhcuERJm9AXcRIg0Bk3OFRhb0ZQjuB35TB79-HmCQGoeMCFuZmUFMn0RvHZI2X75hs_pkqzUKI6_AEDVFPIHjFtYHq4qKJyLRMoFSL6AELZcWiknS1k_Tm5W8uBkwsg=s2619" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1967" data-original-width="2619" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEj2My6eMeestv9rJzIPOLSN0_5AQ1ZKPY8lraI6xT34uhPlMQHc_OTd_BLVX0RhhcuERJm9AXcRIg0Bk3OFRhb0ZQjuB35TB79-HmCQGoeMCFuZmUFMn0RvHZI2X75hs_pkqzUKI6_AEDVFPIHjFtYHq4qKJyLRMoFSL6AELZcWiknS1k_Tm5W8uBkwsg=s320" width="320" /></a></div><br /><p></p><blockquote><p></p></blockquote><blockquote><blockquote><p>"Thanks to your generous gift of Memorial Trees <a href="https://www.allcounty.com/obituaries/Deva-Marie-Overman?obId=22532036#/celebrationWall" target="_blank">from the Tribute Store </a>!!<br /></p></blockquote><p>In memory of Deva
Overman, we are pleased to inform you that American Forests has planted
your trees as a part of the Michigan Kirtland’s Warblers project. A
total of 30,000 trees have been planted to help restore this beautiful
forest from devastating fire damage. Keeping these sites as natural as
possible is essential to the health of the newly planted trees. Please
help them acclimate and grow by refraining from visiting the locations.
Now more than ever in the face of climate change and wildfires, it is
important to protect our country’s beautiful forests, and thanks to your
donation in memory of Deva Overman we are making that happen. Take
care, The Team at Tribute Store."</p></blockquote><p></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh7t8fMP9ZkQwUnkn8CqVXlcVKdxgC-b2FRq-fA7UARg1P-sRtKgUFpoLU4g9zKeLS8CmDkAeyJ-TKL2dd1JSDr1Z_1mkVl0bb93ON2hNArHLMa0lJI-s0RULGdqM638h3QRu3Fy54sDWm7NjGwpHeZsBBFyprKGU9JhuCB_PgJVzu9mLYpz5xA5_UEeg=s1067" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="1067" height="368" src="https://blogger.googleusercontent.com/img/a/AVvXsEh7t8fMP9ZkQwUnkn8CqVXlcVKdxgC-b2FRq-fA7UARg1P-sRtKgUFpoLU4g9zKeLS8CmDkAeyJ-TKL2dd1JSDr1Z_1mkVl0bb93ON2hNArHLMa0lJI-s0RULGdqM638h3QRu3Fy54sDWm7NjGwpHeZsBBFyprKGU9JhuCB_PgJVzu9mLYpz5xA5_UEeg=w486-h368" width="486" /></a></div><br /><p></p><p> </p><p> </p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-58703845548729763302021-12-15T13:53:00.008-08:002023-10-12T12:45:25.553-07:00Give the gift of tuition assistance--the Deva Marie Overman Scholarship Fund at FIDM<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEifVQpivEp27GrM0xy0dtzHjYjxJmdis-lSO0i0Xc60fvHFSWUcKszXdJdP7RTm-F8wi-EZ5UgTuioFinlMWO96NRpJQcxFWNP3tbiTP_HNS1cFqTUua69r59gOt3UYuWKHxdyXc6ILMHVOruSmXM_ZKvavx86u2xf7QVzF5pSaoj0mCs95rUxsjqu4AA=s586" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="439" data-original-width="586" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEifVQpivEp27GrM0xy0dtzHjYjxJmdis-lSO0i0Xc60fvHFSWUcKszXdJdP7RTm-F8wi-EZ5UgTuioFinlMWO96NRpJQcxFWNP3tbiTP_HNS1cFqTUua69r59gOt3UYuWKHxdyXc6ILMHVOruSmXM_ZKvavx86u2xf7QVzF5pSaoj0mCs95rUxsjqu4AA=w400-h300" width="400" /></a></div><br /><i>Give the gift of tuition assistance to a deserving student at Fashion Institute of Design & Merchandising to honor our daughter's memory. She was at her best as a student there. </i><p></p><p><i>The recipient of her scholarship may just be the designer of the clothes you wear in future. </i></p><p>Deva Marie Overman Scholarship Fund --ASU merged with FIDM to become <a href="https://asufidm.asu.edu/fidm-transition" rel="nofollow" target="_blank">ASMFIDM</a> recently in 2023 and scholarship funds were distributed to students in most need! So no more scholarship fund under Deva's name anymore-- but students received the help which is all that matters.<br /></p><p><br /></p>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0tag:blogger.com,1999:blog-5160284586830966840.post-71839287347785399992021-11-22T16:48:00.003-08:002023-10-12T12:58:24.942-07:00<p> </p><div class="oi9244e8 do00u71z j83agx80"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-jUc3Tazr1Qw/YZw59GjxktI/AAAAAAAAPe4/s3QnAOXrsHckLAyU6Kf-oxLHAxq-rArXgCPcBGAsYHg/s2592/IMG_7361.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2592" data-original-width="1234" height="640" src="https://1.bp.blogspot.com/-jUc3Tazr1Qw/YZw59GjxktI/AAAAAAAAPe4/s3QnAOXrsHckLAyU6Kf-oxLHAxq-rArXgCPcBGAsYHg/w304-h640/IMG_7361.JPG" width="304" /></a></div><br /><span class="nc684nl6"><br /></span></div><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d9wwppkn fe6kdd0r mau55g9w c8b282yb mdeji52x e9vueds3 j5wam9gi b1v8xokw m9osqain hzawbc8m" dir="auto"><span id="jsc_c_4"><span class="tojvnm2t a6sixzi8 abs2jz4q a8s20v7p t1p8iaqh k5wvi7nf q3lfd5jv pk4s997a bipmatt0 cebpdrjk qowsmv63 owwhemhu dp1hu0rb dhp61c6y iyyx5f41"><span class="l9j0dhe7"></span></span></span></span><div class="buofh1pr"><div class="j83agx80 cbu4d94t ew0dbk1b irj2b8pg"><div class="qzhwtbm6 knvmm38d"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d9wwppkn fe6kdd0r mau55g9w c8b282yb mdeji52x e9vueds3 j5wam9gi b1v8xokw m9osqain hzawbc8m" dir="auto"><span id="jsc_c_4"></span></span></div></div></div><div dir="auto"><div class="ecm0bbzt hv4rvrfc ihqw7lf3 dati1w0a" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_5"><div class="j83agx80 cbu4d94t ew0dbk1b irj2b8pg"><div class="qzhwtbm6 knvmm38d"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;">Deva Marie Overman </div><div dir="auto" style="text-align: start;">Memorial will be June 11, 2022, Saturday 12NOON--lunch will be served. It will be a hybrid memorial for both attendances in person or Zoom for those who prefer to attend remotely. An invitation will be sent out via social media/email in early Spring, 2022.</div><div dir="auto" style="text-align: start;"> </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;">Deva Marie Overman Scholarship Fund at Fashion Institute of Design & Merchandising <br /></div><div dir="auto" style="text-align: start;">Donations accepted at</div><div dir="auto" style="text-align: start;"><span>http://fidmscholarshipfoundation.org/en/DONATE/--</span><span style="color: #ff00fe;">-since
ASM & FIDM became ASUFIDM in 2023 all scholarship funds were
distributed to students in most need. So no more Deva scholarship fund
but at least it went to students which is most important.</span></div></div></span></div></div></div></div>Linda Rader Overmanhttp://www.blogger.com/profile/02043042325768063287noreply@blogger.com0