PUB: CALL FOR PAPERS: Colonial and postcolonial Urban Planning in Africa > Próximo Futuro

CALL FOR PAPERS:

Colonial and postcolonial

Urban Planning in Africa

conference flyerCALL FOR PA­PERS: In­ter­na­ti­onal Plan­ning His­tory So­ciety (IPHS) & Ins­ti­tute of Ge­o­graphy and Spa­tial Plan­ning, Uni­ver­sity of Lisbon, Por­tugal - CON­FE­RENCE Co­lo­nial and post­co­lo­nial Urban Plan­ning in Africa, Lisbon, 5-6 Sep­tember 2013

Ac­cor­ding to the United Na­tions, around 40 per­cent of the African po­pu­la­tion lived in urban areas in 2009. Po­pu­la­tion li­ving in these vi­brant and com­plex ci­ties,  dif­fe­rent from one another in pat­terns, pro­cesses and func­tions, is ex­pected to reach 60 per­cent in 2050 and to set im­por­tant chal­lenges to both cen­tral and local go­vern­ments in the con­ti­nent. The answer to these chal­lenges seems to re­quire above all sys­te­matic urban plan­ning, as ack­no­wledged re­cently by the di­rector of UN-Ha­bitat.

The Con­fe­rence – Co­lo­nial and Post­co­lo­nial Urban Plan­ning in Africa – aims to re-exa­mine the his­tory of co­lo­nial urban plan­ning in Africa and its le­ga­cies in the post-in­de­pen­dence pe­riod, to learn from con­tem­po­rary African scho­larship, and to dis­cuss how post­co­lo­nial urban plan­ning cul­tures can ac­tu­ally ad­dress these urban chal­lenges and con­tri­bute ef­fec­ti­vely for the de­ve­lop­ment of re­si­lient and sus­tai­nable ci­ties in Africa.

The Con­fe­rence to be held in Lisbon, in Sep­tember 2013, or­ga­nized by the Ins­ti­tute of Ge­o­graphy and Spa­tial Plan­ning - Uni­ver­sity of Lisbon and the In­ter­na­ti­onal Plan­ning His­tory So­ciety (IPHS), will ex­plore two key themes in the his­tory of urban plan­ning in Africa:

·         Theme I - 19th and 20th Cen­tury Co­lo­nial Urban Plan­ning in Africa

·         Theme II - Post­co­lo­nial Urban Plan­ning in Africa

In both themes we wel­come country and cross-country ap­pro­a­ches, stu­dies of in­di­vi­dual ci­ties, and the com­pa­rison of African ci­ties with one another.

The con­fe­rence is or­ga­nized in pa­nels ac­cor­ding to to­pics and is­sues.

The wor­king lan­guage of the con­fe­rence will be En­glish. Trans­la­tion ser­vices will not be pro­vided.

Par­ti­ci­pa­tion in the con­fe­rence re­quires the pre­sen­ta­tion of a paper.

We in­vite re­se­ar­chers, plan­ners and post­gra­duate stu­dents to pre­sent cri­tical analyses of the mul­ti­fa­ceted urban plan­ning ex­pe­ri­ence in Africa.

 

Mais in­for­ma­ções, aqui.

 

PUB: Call for Papers – Online Journal Istmo/Thematic Dossier “Transterritorial Routes of Contemporary Caribbean Cultures” « Repeating Islands

Call for Papers – Online Journal

Istmo/Thematic Dossier

“Transterritorial Routes of

Contemporary Caribbean Cultures”

For 25th edition of Istmo. Revista virtual de estudios literarios y culturales centroamericanos the editors of the thematic dossier “Transterritorial Routes of Contemporary Caribbean Cultures” welcome articles, essays or interviews. The length of each submission should be  at least 10 pages (including bibliographical references and footnotes) written in either English or Spanish. We invite topics from junior research areas of Cultural and Literary Studies. Information on format and style are available at:http://istmo.denison.edu/n23/ 23publicacion.html.

 
Proposals, papers and questions can be sent to the coordinator of the dossier Martina Urioste-Buschmann (Mailing address:urioste-buschmann@romanistik. phil.uni-hannover.de).

 
Deadline for final submissions: December 1, 2012.

 

INTERVIEW: Founder of SouLar Bliss, Adaku Utah, Takes on Sexual Health Issues in Nigeria, With Love > QWOC Media Wire

Founder of SouLar Bliss,

Adaku Utah,

Takes on Sexual Health Issues

in Nigeria, With Love

Adakupage

Speaking to Adaku, founder of the life- and love-affirming website SouLar Bliss, you are struck by her passion and caring spirit. All that she says returns to healing, love, and the connections between humans. “We’re all working so hard to heal from suffering,” she says. “Love brings us back to who we are as people and reconnects us to each other.”

Her website provides recipes, remedies, and rituals for healing, but Adaku also works on issues of sexual health and reproductive justice. She recently earned the Sexuality Leadership Development Fellowship with the Africa Regional Sexuality Resource Center, which will allow her to return home to her native Nigeria to work on issues of sexual health in Africa with organizers. She will also be sharing her works Palm Wine, what she calls “a community love project” on LGBT Nigerian experiences, and (Un)Conditional Love, a project on Nigerian mothers and daughters.

Adaku’s work is just a small sample of the work that’s being done in African nations to celebrate queer love and strengthen LGBT and reproductive rights. In spite of events such as Uganda’s crackdown on gay rights groups, activists in countries throughout Africa are working hard for the African LGBT community.

But Adaku needs the community’s help in order to fund her experience, as the Center is not offering a scholarship with the fellowship. After you read Adaku’s words on her upcoming fellowship, please consider donating at her website to help her cause.

What issues do you expect to address with African organizers?

In an intentional and affirming space, we will enter into a dialog about sexual and reproductive health issues, sexual pleasure, and HIV/AIDS. What we do will not only take place in the confines of this one time; this is also about building sustainable relationships. I am humbled to have this experience.

Why do you focus on love in your work?

Love is my grounding point. You can’t make change if you don’t love who you are. In many ways I feel we’ve been cut off from love, and lack of love leaves us relying on fear and oppression. It’s not a healthy space to be in.

What do you expect to get out of the Share Your Bliss tour, where you’ll be talking with people in their homes about recipes, rituals, and remedies?

I’m really excited about that. Share Your Bliss creates an opportunity to authentically be yourself through sharing. I believe that sharing has supported all of our lives. Something is constantly sharing with us. I want people to feel celebrated and rooted through this tour; I want them to have the opportunity to share tales and lessons. We need to hear more stories so we’re not so isolated.

How do you feel about the state of LGBT rights in African nations and the progress that’s being made?

There has been a lot of progress and struggle. It’s been so powerful. It takes a lot of courage and love to speak your truth in the face of hate, through art, organizing, and even coming out. The reality is that people are speaking out. I hear so many more stories about queer Africans now than I did in the past. I’m really excited about the re-education that’s happening around our history and herstory. LGBT history and herstory are not un-African. We need a paradigm shift on how people look at us. Our stories have lived since the beginning of time.

How can the LGBT community support your work?

I feel I’m part of something larger. We need each other. We need to be authentic. I want people to take care of themselves, because my work is supported by love, healing, transformation, and sharing. Any support, even just positive thoughts, helps. Of course, financial support is always helpful.

Adaku’s cause and her passion for that cause are inspiring. As she takes her message of love and healing to Nigeria, we hope her words and actions inspire others – to love, to give, and to continue to fight for equality.

 

VISUAL ART: Wangechi Mutu (Kenya) > negro sunshine.

WANGECHI MUTU
Adult Female Sexual Organs
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics. In Adult Female Sexual Organs, Mutu uses a Victorian medical diagram as a base: an archetype of biased anthropology and sexual repression. The head is a caricatured mask – made of packing tape, its material makes reference to bandages, migration, and cheap ‘quick-fix’ solutions. Mutu portrays the inner and outer ideals of self with physical attributes clipped from lifestyle magazines: the woman’s face being a racial distortion, her mind occupied by a prototypical white model. Drawing from the aesthetics of traditional African crafts, Mutu engages in her own form of story telling; her works document the contemporary myth-making of endangered cultural heritage. 

Quote from: Merrily Kerr, Wangechi Mutu's Extreme Makeovers, Art On Paper, Vol.8, No. 6, July/August 2004. posted on: 

>via: http:// www.akrylic.com/contemporary_art_article73.htm
__________________________
 
Where Does All That Ugly Go
in Our Beautiful Blackness?

I’m interested in powerful images that strike chords embedded deep in the resevoirs of our subconscious              -Wangechi Mutu


Trapped within the mundane white living of Orange County, California it becomes of paramount need to find the quiet moments of mental escape.[i]. Those breaks in the reality of the situation when I surround myself with nothing but Blackness, Black ‘living,’ Black thought, and Black ‘culture.’ When I scroll down my tumblr dashboard I’m always in a state of shock-excitement-peace seeing the numerous blogs devoted to maintaining a loving relationship with this thing we call Black.  That thing/stuff that is constantly misrepresented, unrecognized, feared, yet still hypervisible and overdetermined. One of the themes running across these blogs (my own included, in my relationship/work with Black visuality) is beauty, often addressed through the notion of Black love—of self and culture.  I’m pleased to be linked with others in this remarkable act of unapologetic Blackness, not new, but now hip, chic, and constant—in step with the ever-evolving technology age. My, your, our Blackness is represented as just as relevant and pleasing as the MacBook I type these words from. The blog world has become a space of representing our interest in transforming, self-making, and ultimately protesting. What is to be said of this affirmation of beauty? Or what can be made in these life-affirming words and images of Blackness? A lot can be said on those questions, but I’m currently most intrigued/engaged with another question: where does what we transform, make, and protest figure into our notions of Blackness? 

The work of Wangechi Mutu plays with all of these questions and pushes our ideas of transformation and beauty to the (performative) limits. In responding to and protesting stereotypes, our blogs often obscure and avoid the violent notions of Blackness we daily encounter. But where does that violence go in our mental escapes? What happens to those things not spoken? They certainly don’t evaporate.

As I have stated elsewhere, what is remarkable about the work of artist like Carrie Mae Weems or Michael Ray Charles, is their ability to confront what is known/thought and bring it out for all to speak, contemplate, and confront. Kara Walker mines the same vein and abstracts, imagines, and digs into fantasy space toward an account of the same notions of Blackness. Particularly concerning the idea of beauty and self/Black love, I am captivated by Wangechi Mutu’s ability to abstract and amplify stereotype. 

In an interview with Lauri Firstenberg, Mutu noted:

“Camouflage and mutation are big themes in my work, but the idea I’m most enamored with is the notion that transformation can help us to transcend our predicament. We all wear costumes when we set out for battle. The language of body alteration is a powerful inspiration. I think part of my interest in this comes from being an immigrant but I’ve also always been interested in how people perform and maneuver among one another.” 

In contrast to the Walker, Weems, and Charles, Mutu’s work does not present clear cut renderings of stereotypes, but they are always present. The violence forming and shaping Blackness is highlighted, exposed, and abstracted in such a way that flips the formula: finding beauty in what is equated to ugly (transforming, self-making, protesting), toward highlighting the complex/constant relationship between beauty and ugly: the two are always with each other and always visible.

                          

Mutu is a New York artist from Kenya who was educated both in Africa and the States. Her work uses collage not just as a crafty, chic art medium, but rather to speak to the ways in which one’s life is organized. She culls sexual imagery from fashion and porn, ethnographic photographs in National Geographic and high-gloss populist coffee table books such as Africa Adorned toward deconstructing the female body until it becomes a series of leprous dismembered pinups.[ii]

“Violent incidences are often fastened to images of privilege in my drawings. Images of altered or slightly mutilated bodies with diseased skin sometimes look like bizarre and colorful fabric costumes. There is this tiny percentage of people who live like emperors because elsewhere blood is being shed.”  -Wangechi Mutu

“Women’s bodes are particularly vulnerable to the whims of changing movements, governments, and social norms. They’re like sensitive charts—they indicate how a society feels about itself. It’s also disturbing how women attack themselves in search of a perfect image, and to assuage the imperfections that surround them.”  -Wangechi Mutu



[i] I say Orange County simply because that is my current physical location. I keep in the forefront of my thinking, “what Black utopia exist where this would not be a need?”

[ii] Lauri Firstenberg, “Wangechi Mutu: Perverse Anthropology: The Photomontage of Wangechi Mutu,” in Looking Both Ways: Art of the Contemporary African Diaspora.Lauri Ann Farrell, editor (New York: Museum of African Art), 136-143

++++++++++++++++++++++++++

Photobucket

‘peace & love y’all

how you feel?

sisters, how ya feel?

brothers, y’all alrite?

can i ask the elders in the house if i can speak freely?

yeah? okay.’

well, my name is ryan.

also know as negrosunshine.

also known as nappychild88.

also known as black.

also known as queer.

also known as davis sinclaire.

also known as vanessa’s child.

also known as reads a lot.

also known as too cool.

also known as ‘lets do some shots’.

also known as revolutionary.

also known as writes a lot.

also known as rye.

also known as ryanisangry.

also known as fresha than a muthafucka

and

writing is my craft.

————— 

negro sunshine is toward a recording of experiences shaped by ethical meditations at intersections of Blackness. gender. sexuality. 

negro sunshine:

[1] to critically (re)think the world we are. (BE). live. in/out.

[2] to capture and remember the energies and spirits shaping & (in)forming me.

[3] to document a Black-queer living against white-capitalist heteropatriarchy

[4] to progress a radical Black-queer position

[5] to reflect. live. find the moments of love & laughter

the pages. words. thoughts. found in negro sunshine are moments of reflection. some intimate. some academic. some humorous. all political by nature due to my perspective—Black and queer. standing in contradiction to ‘life’ itself.

i thank the artist glenn ligon and his work.  the name ‘negro sunshine’ is not of my own creation but rather borrowed from his work, who actually borrowed the phrase from gertrude stein’s 1909 novella “Melanctha.”

i am very interested in the way ligon uses the language from a story about a mixed race woman, and attaches it to what he terms the “ambiguous history of African-Americans.”

i use it in much the same way (i think). negro sunshine for me sparks thought, and hopefully conversation on the ambiguous life of the black in this world. negro sunshine! a certain social death, but a life we continue to live. we still get out of bed every morning for something. i hope my blog adequately interrogates/documents that something, to the best of my abilities. while sparking conversations! conversations that do not stray away from the complex questions raised by pairing “negro” and “sunshine” together.

ashe.

 

POV: To be Loved or to be understood? The Struggle Between Culture and Sexuality > QWOC Media Wire

To be Loved

or to be understood?

The Struggle Between

Culture and Sexuality

484415 10151130935369257 1540005602 N

“There are so many myths about our queer lives that still exist in our Latin@ community; from queerness being a choice or a psychological disorder to us not wanting children and being possessed by demons. And we don’t talk about these issues because the cultural expectation (especially of our elders) is to not go against the grain.” Sarahi Yajaira

One Latina shares her struggle with expressing both her culture and her sexuality.

Five years ago I had a hysterectomy. It was a direct result of a women’s disease called endometriosis (www.endometriosis.org).

Three months after I had my hysterectomy, I went to New York City to visit my family. In conversation about how I was feeling and how much weight I’d lost, one of my cousins says, “Well, it’s not like you needed your parts, you’re a lesbian, you weren’t going to use them.”

I have always wondered how I could begin to address my family so that they could understand queerness. At that moment I felt angry but I knew it was an opportunity to have an open conversation. So I said to her, “That’s very presumptuous of you. What makes you think lesbians don’t want to have children?” She stuttered, as she knew that I was going to engage her in a talk. My aunt quickly changed the conversation and gave me the look (that one you get as a kid when you know you shouldn’t say another word).  She was uncomfortable and out of cultural respect, I didn’t engage in further conversation about the comment. But I knew I had a pending talk with my cousin.

The conversation with my cousin never took place. That night I went to bed and I couldn’t sleep. I felt that I had somehow betrayed my queerness because I remained silent. But how can I have these conversations with my aunt? Culturally, I am expected to follow certain unspoken rules. And why didn’t I confront my cousin so that I could at least have the conversation with her?

I’ve always thought that the best way to show my family that being a lesbian is not the worst thing in the world was simply, to live my life openly and honestly.

A few days ago, I was on the phone with my mother talking about a current family issue when she said, “When you made the decision you made to be a lesbian…” I shut down immediately; didn’t even listen to anything else that she said and quite honestly, I didn’t care.

That night, I went to bed angry at myself because I had done it again; I remained silent. My relationship with my mother has never been a good one. I usually confront her on any and all issues. But culturally there are certain expectations that conflict with my natural desire to have these conversations (other times, I am just tired of trying).

There are so many myths about our queer lives that still exist in our Latin@ community; from queerness being a choice or a psychological disorder to us not wanting children and being possessed by demons. And we don’t talk about these issues because the cultural expectation (especially of our elders) is to not go against the grain.

I’ve always thought my family accepts me as I am. But the more I think about this, I wonder if there can be true acceptance if you don’t engage in heart to heart conversations. Can there be true acceptance if, when I bring someone home she is presented by my family as just a friend? Even though they would all know she is so much more than that.

Lately I have lost my usual “willing to talk” attitude. I have lost interest in trying to have these conversations, especially with my mother because I feel that they haven’t led to any positive change. After nineteen years of being out, my mother still thinks I made a choice (or worse that I have a legion of demons). After nineteen years, my family still thinks that I don’t want to have children. After nineteen years, my family still uses maricon/a, to identify my community. After nineteen fucking years, my mother still says, “yo prefiero ser puta, que pata” (I’d rather be a slut than a dyke).

 

I can’t even begin the conversation because the bible will immediately come out along with traditional cultural expectations and I am just so tired of trying to create change in an unchangeable situation. And I don’t want to meet them half way because they are not even willing to take one step towards me. The reality is that, at the end of the day some things never change.

My family celebrates being Latina and being strong women but when I want to share and celebrate being a lesbian, it is dismissed and the conversations are not taking place because they’re not interested in knowing. They say, “We Love you and that is all that matters. We will continue to pray.”

Do I want to be Loved or do I want to be understood? Ideally, it would be both. But if I have to choose between one or the other, what is more important at this point in my life?

I’ve done my best to bring more light about my life to those around me so that they may see much more of me than the one thing that seems to keep them “at a distance” and unwilling to have real conversations. But I don’t want them to ignore that part either. In ignoring any part of me, you ignore all of me because my parts cannot be separated; you can’t separate the heart from the lungs and expect a body to function. You will also miss out on a real genuine connection that goes beyond the blood line that expects you to Love me just because we’re family.

Real Love encompasses understanding. One cannot live without the other.

via qwoc.org

 

HISTORY: Mary Fields: Female Pioneer in Montana

Mary Fields:

Female Pioneer in Montana

Originally published by Wild West magazine. Published Online: June 12, 2006 

Although she may have been one of the toughest women ever to work in a convent, 'Black Mary' had earned the respect and devotion of most of the residents of the pioneer community of Cascade, Montana, before she died in 1914. In fact, Mary Fields was widely beloved. She was admired and respected throughout the region for holding her own and living her own way in a world where the odds were stacked against her. In a time when African Americans and women of any race enjoyed little freedom anywhere in the world, Mary Fields enjoyed more freedom than most white men.

Fields dressed in the comfortable clothes of a man, including a wool cap and boots, and she wore a revolver strapped around her waist under her apron. At 200 pounds, she was said to be a match for any two men in Montana Territory. She had a standing bet that she could knock a man out with one punch, and she never lost a dime to anyone foolish enough to take her up on that bet. By order of the mayor, she was the only woman of reputable character in Cascade allowed to drink in the local bar, and while she enjoyed the privilege, she never drank to excess. She was often spotted smoking cigars in public, and she liked to argue politics with anyone.

Mary Fields started life as a slave in Hickman County, Tenn., in 1832. When she gained her freedom after the Civil War, she moved to Mississippi, where she worked on the steamboat Robert E. Lee as a chambermaid. She was on board during that boat's race against Steamboat Bill's Natchez in 1870, and she liked to relate her experience during that race when the crewmen tossed anything they could get their hands on–even barrels of resin and sides of ham and bacon–into the boiler while men sat on the relief valves to boost the steam pressure. 'It was so hot up in the cabins that the passengers were forced to take to the decks,' she said, according to an article in the local Cascade Courier in 1914. 'It was expected that the boilers would burst.'

Fields was the maid and childhood friend of an Ursuline sister named Mother Amadeus. When the sister served at the Ursuline convent in Toledo, Ohio, Fields joined her there. Later, Mother Amadeus was called to take a position at the new St. Peter's Convent near what was to become Cascade, Mont., a small town that grew up on the new Montana Central railroad route between Helena and Great Falls. Mother Amadeus became ill with pneumonia in 1885 and called for Fields. Her longtime friend did not take long leaving Toledo for the West. As soon as Fields arrived at St. Peter's Convent, she set about nursing Mother Amadeus back to health.

When Mother Amadeus was well, Fields stayed on to work at the convent. She handled the stage that brought visitors from the train station, where she would often spend the night waiting for her passengers. She also hauled critical supplies for the convent. She alone handled the wagon team that hauled the goods, no matter what the weather or road conditions. One winter night, a pack of wolves spooked her horses and the wagon overturned. Fields stood guard and protected the food shipment from the wolves through the night, knowing how much the nuns depended on the supplies to survive.

Although the sisters tried their best to smooth Fields' rough edges by inviting her to participate in services and practice her Catholic faith, Fields preferred the rougher company of the men who worked around the convent. She drank and swore with the best of them, fought them with her formidable fists, smoked cigars, swapped stories and became a crack shot with revolver and rifle. She also worked as hard as she played. At the convent she washed clothes and sacristy linen, cared for as many as 400 chickens, and tended large gardens for the sisters.

Father Landesmith, the chaplain at nearby Fort Keough, visited St. Peter's in 1887. He was charmed by Fields when she insisted on retelling her account of her battle with a skunk that had invaded the coop and killed more than 60 baby chicks. She dragged the dead skunk more than a mile to display her trophy to the sisters and visiting chaplain. When the sisters asked her how she avoided getting sprayed by the skunk, she explained that she was careful to make a frontal assault.

A near disaster occurred when the sisters decided to return Fields' favors and do her chores while she was away. They did the laundry themselves without any problems, but then they decided to burn a small pile of Fields' trash. The fire ignited some loose cartridges, and one nun, Sister Gertrude, was wounded above one eye. They were happy when Fields returned.

When the sisters moved from their log cabins to a new stone building, Fields personally moved the possessions of Mother Superior Amadeus, hauling them in a wheelbarrow. Fields continued to do her chores at the convent for 10 years, and probably would have stayed there for the rest of her life had she been allowed. But she was not. Her wild ways outside the convent finally caught up with her. After Bishop Brondell, the first Catholic bishop in Montana, received complaints about her, he told the convent that Mary Fields must leave.

One account tells of a gun duel that she had, although no details are available. Then there were the fistfights, most of which she won. During one trip to a ranch, Fields got into a heated debate over a harness. She used a small rock to emphasize her point, and ended up making a dent in the head of the ranch foreman.

Fields traveled to the state capital, Helena, to plead her case. She demanded that she be allowed to confront her accusers, but Bishop Brondell told her that nothing would change his mind. She would have to leave St. Peter's. Unable to resist the will of her bishop, Mother Amadeus did the next best thing. She moved Fields into nearby Cascade and secured the mail route for her between Cascade and the convent. Mother Amadeus even bought her friend a wagon and a team of horses for the new route. Mary Fields became only the second woman in the country to manage a mail route. She took to her new job, sticking with it for the next eight years.

On one mail run to the convent, she was badly injured when her horse team got out of control. When she finally arrived at the convent, she was repentant for having let the horses get away from her. The sisters used the opportunity to once again encourage her to attend Mass. Some of the sisters must have been surprised when Fields agreed to come the following day. One of them stayed up most of the night to fashion a special blue challis dress and long white veil that she could wear for the special occasion.

In 1903, her longtime friend and mentor Mother Amadeus was sent to Alaska to establish another mission. Fields, now 70, was devastated. Mother Angelina, who succeeded Mother Amadeus at St. Peter's, was kind to Fields, but it was small comfort after such a sorrowful separation.

Mary Fields finally gave up her mail route and settled into town life. The people of Cascade thought so much of her that on her birthday they would close the local school in her honor. She would then buy candy and treats for the children. Not that Fields had mellowed all that much with age. She made her living by taking in laundry at her home, while continuing to frequent local drinking establishments. One day, while drinking in a local bar, she spotted a man walking by on the street. She stepped outside for a better look. Indeed, it was a man who owed her $2 for an unpaid laundry bill. She followed him down the street and grabbed the collar of the shirt she had not been paid for cleaning. Then she punched him. She returned to the bar and declared, 'His laundry bill is paid.' Fields also ran an eating house that did poorly because she would extend credit to anyone who expressed a need. Sheepherders would ask her to wait for payment for meals in the winter until they were working again the following summer. She went broke twice trying to make a go of the restaurant business.

Still, she had her friends. She was always welcome in the local hotel. In 1910, when R.B. Glover leased the New Cascade Hotel from Kirk Huntley, a stipulation to the transaction was that all meals for Mary Fields would be offered free of charge for the rest of her life. When her laundry business and her home burned down in 1912, the townspeople gathered and built her a new home.

Mary Fields adopted the Cascade baseball team as her own. For each game she prepared buttonhole bouquets of flowers for each player from her own garden, with larger bouquets reserved for home-run hitters. Any man speaking ill of the local team in her presence could expect a bouquet of knuckles in his face.

Fields baby-sat most of the children in the area for $1.50 an hour and then spent most of the money she earned buying treats for the children. It was during this time that a small boy visiting from nearby Dearborn, Mont., noticed her. The young boy, a Montana native named Gary Cooper, would later remember her fondly in a story he wrote about her in 1959 for Ebony magazine, toward the end of his acting career and his life. Cooper died in 1961.

Charlie Russell, the cowboy artist, lived in Cascade for a brief time, and he featured Mary Fields in an 1897 pen-and-ink drawing he composed called A Quiet Day in Cascade, which shows her being knocked down by a hog and spilling a basket of chicken eggs.

Sensing that she was close to death in 1914, and not wanting to become a burden on her friends, Fields tried to steal away quietly with some blankets to die in the tall weeds near her small, two-room house. Lester Munroe and his three brothers were playing nearby, and they found Fields, who had baby-sat all of them, lying there in the weeds. She was taken to the Columbus Hospital in Great Falls.

When she died a few days later, there was no shortage of pallbearers for the tough but kind black woman who had befriended generations of local children. She was buried in a small cemetery alongside the road between Cascade and St. Peter's Mission that she had traveled so many times during her life.

This article was written by George Everett and originally published in Wild West Magazine in February 1996.

For more great articles be sure to subscribe to Wild West magazine today!

 

VIDEO + PHOTO ESSAY: Sudan Sunday Second Line Photos & Video > NOLA-com

Sudan Sunday 2012

Sudan Sunday Second Line

Photos & Video

 

Matthew Hinton, The Times-Picayune By Matthew Hinton, The Times-Picayune The Times-Picayune
on November 11, 2012


Nikisha Roberts of the Versatile Ladies of Style leads the Free Agents Brass Band along Claiborne Ave. in the Treme neighborhood in New Orleans, La., Sunday, Nov. 11, 2012. Members of the Sudan Social & Pleasure Club, the Versatile Ladies of Style, Chosen Few, and Sophisticated Diamond Divas, paraded from Craig Charter School in Treme to the sounds of the Free Agents, TBC, Kinfolk, and 21st Century Brass Bands. Treme is celebrating its 200th anniversary as the United States' oldest African-American neighborhood. Even David Simon, co-creator of HBO's Treme television show, watched the parade as it made it's way around the neighborhood. (Photo by Matthew Hinton, NOLA.com / The Times-Picayune) Sudan Sunday Second Line 2012 gallery (19 photos)
Members of the Sudan Social & Pleasure Club, Versatile Ladies of Style, Chosen Few, and Sophisticated Diamond Divas, paraded from Craig Charter School in Treme to the sounds of the Free Agents, TBC, Kinfolk, and 21st Century Brass Bands in New Orleans, La., Sunday, Nov. 11, 2012.  Treme is celebrating its 200th anniversary as the United States' oldest African-American neighborhood. Even David Simon, co-creator of HBO's Treme television show, watched the parade as it made it's way around the neighborhood.

 

Sudan Sunday 2012

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Sudan Sunday 2012

 

PUB: Tampa Review

Tampa Review Prize for Poetry

Submission Guidelines

Guidelines for Submission to The Tampa Review Prize for Poetry
  1. Manuscripts must be previously unpublished. Some or all of the poems in the collection may have appeared in periodicals, chapbooks, or anthologies, but these must be identified.

  2. Manuscripts should be typed, with pages consecutively numbered. Clear photocopies are acceptable. Manuscripts must be at least 48 typed pages; we prefer a length of 60-100 pages but will also consider submissions falling outside this range.

  3. When sending by mail, please submit the manuscript as loose pages held only by a removable clip or rubber band and enclosed in a standard file folder. Do not staple or bind your manuscript. Online submissions should follow guidelines provided there.

  4. Printed entries should include a separate title page with author’s name, address, phone number, and e-mail address (if available). Online submissions guidelines are posted.

  5. Entries must include a table of contents and a separate acknowledgments page (or pages) identifying prior publication credits.

  6. Submissions must be postmarked (or electronically dated online) by the postmark deadline of Dec. 31, 2012. Simultaneous submissions are permitted, but the University of Tampa Press must be notified immediately if the manuscript is accepted elsewhere.

  7. Include a nonrefundable handling fee of $25 for each manuscript submitted. Make check or money order payable to “University of Tampa Press” when sent with mailed submissions. Online submissions are not complete until this fee has been sent using any major credit card via our secure online service, CCNow. (A small processing fee is added to online submissions.)

  8. The winning entry will be announced in the subsequent summer. Enclose a stamped, self-addressed postcard for notification of receipt of manuscript, and a stamped, self-addressed envelope for notification of contest results by mail. No manuscripts will be returned; the paper will be recycled. Online submissions will be acknowledged by email. All contestants enclosing SASE or email address will be notified following the final selection of the winning manuscript.

  9. Judging is conducted in accord with the Council of Literary Magazines and Presses Contest Code of Ethics by the editors of Tampa Review. Submissions are not accepted from current faculty or students at the University of Tampa. Editors will recuse themselves from judging entries from close friends and associates to avoid conflicts of interest.
Manuscripts should be mailed to:
The Tampa Review Prize for Poetry
University of Tampa Press
401 West Kennedy Blvd.
Tampa, FL 33606-1490

Online submissions should use this link: Tampa Review Prize Online Submissions

 


 We subscribe to the Council of Literary Magazines and Presses (CLMP) Contest Code of Ethics:
"CLMP's community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to (1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors; (2) to provide clear and specific contest guidelines defining conflict of interest for all parties involved; and (3) to make the mechanics of our selection process available to the public. This Code recognizes that different contest models produce different results, but that each model can be run ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage."
  
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