HEALTH: Alfredo Quiñones-Hinojosa - A Surgeon’s Path From Migrant Fields to Operating Room > New York Times

A Surgeon’s Path

From Migrant Fields

to Operating Room

At the Johns Hopkins School of Medicine, Alfredo Quiñones-Hinojosa has four positions. He is a neurosurgeon who teaches oncology and neurosurgery, directs a neurosurgery clinic and heads a laboratory studying brain tumors. He also performs nearly 250 brain operations a year. Twenty years ago, Dr. Quiñones-Hinojosa, now 40, was an illegal immigrant working in the vegetable fields of the Central Valley in California. He became a citizen in 1997 while at Harvard.

photo by Chris Hartlove

 

Q. WHERE DID YOU GROW UP?

A. Mexicali. My father had a small gas station. The family’s stability vanished when there was a devaluation of the Mexican peso in the 1980s. My father lost the gas station, and we had no money for food. For a while, I sold hot dogs on the corner to help.

As the economic crisis deepened, there seemed no possibility for any future in Mexico. I had big dreams and I wanted more education. So in 1987, when I was 19, I went up to the border between Mexicali and the United States and hopped the fence.

Some years later, I was sitting at a lunch table with colleagues at Harvard Medical School. Someone asked how I’d come to Harvard. “I hopped the fence,” I said. Everyone laughed. They thought I was joking.

Q. AFTER YOU CROSSED THE BORDER, WHAT KIND OF WORK DID YOU FIND?

A. I was a farm laborer in the San Joaquin Valley, seven days a week, sunup to sundown. I lived in this little trailer I paid $300 a month for. It didn’t take long to see that farm work was a dead end.

After a year of it, I moved to Stockton, where I found a job loading sulfur and fish lard onto railroad freight cars. My eyes burned from the sulfur, and my clothes smelled from fish lard, but it paid me enough so that I was able to go to night classes at San Joaquin Delta Community College. There, I met this wonderful human being, Norm Nichols, the speech and debate coach. He took me into his family and mentored me. Norm helped me apply for and get accepted to the University of California, Berkeley.

Once at Berkeley, I took a lot of math and science classes to up my G.P.A. Science and math are their own language. You didn’t need to write in perfect English to do well in them. I pulled straight A’s in science. In my senior year, someone told me to go see this guy, Hugo Mora, who helped Hispanics with science talent. I brought him my transcript and he said: “Wow! With grades like these, you should be at Harvard Medical School.” That’s how I got to Harvard. All along, I had much luck with mentors.

Q. DID YOU FIND HARVARD TOUGH?

A. Not really. Compared to working in the fields, it was easy. The question was what kind of doctor should I become? For a while, I thought I’d be a pediatric oncologist, because I wanted to help children. But then I thought, I’m good with my hands. Maybe I should do surgery.

One day, I was walking through Brigham and Women’s Hospital and I saw Dr. Peter Black, the chairman of neurosurgery. I introduced myself, and he invited me that day to come to watch him do an operation. As it happened, he was doing an “awake” surgery, where the patient’s brain is exposed and the patient is awake so that the surgeon can ask questions. As I watched that, I fell in love with brain surgery.

Q. WHAT ABOUT IT SPOKE TO YOU?

A. Imagine, the most beautiful organ of our body, the one that we know least about, the one that makes us who we are, and it was in Dr. Black’s hand. It was in front of me. It was pulsating! I realized I could work with my hands and touch this incredible organ, which is what I do now. I cannot conceive of a much more intimate relationship than that. A patient grants you the gift of trusting you with their lives, and there is no room for mistakes.

Dr. Peter Black, he was a very humble person. And he took me under his wing. So here again, I was very fortunate with mentorship.

Q. I’M TOLD THAT YOU DO SOMETHING THAT NOT ALL SURGEONS DO: YOU SPEND A LOT OF TIME WITH PATIENTS BEFORE AN OPERATION. WHY?

A. I meet them several times, and their families. They don’t know if they are going to wake up after the operation. Not all the time am I successful. I do about 230 to 240 brain tumor operations a year. The majority make it. Some have complications. And some — 2 to 3 percent — it takes awhile for the patients to wake up. I need to meet everyone so that they know the risks. But getting to know these patients, it’s the most painful part.

I was at a funeral yesterday. This was a 21-year-old man with a young wife, pregnant. Three surgeries, and the tumor kept growing and growing. And he told me, “There’s no possible way I’ll give up.” He fought so hard. He trusted me with his life. Not once, several times. I owed him my presence.

Q. HOW DO YOU HANDLE SUCH LOSSES?

A. One of the ways I work it out is through research, the laboratory. I’m trying to learn about the causes of these recurring tumors. The patients, they can donate tissue, which we will examine.

My hypothesis is — and there are quite a few scientists who believe this — there are within these brain tumors a small subset of cells that can keep growing, even when you think you’ve taken them all out. We call them brain stem cells. They can keep making themselves, and they can make “daughter cells” that can become anything else in the brain. They have the ability to go to sleep for a little bit and then wake up and do it again. So we’re trying to identify this small subset of cells we may be leaving behind when we make these beautiful surgeries.

Q. HAVE YOU ACTUALLY FOUND THEM?

A. Yes, but only in the laboratory. When we’ve found them, they may be a product of the experimental conditions of the laboratory. We haven’t found them yet in live patients. The next challenge is to see if they truly exist in the human brain while the patient is alive.

Q. WHEN YOU HEAR ANTI-IMMIGRANT EXPRESSIONS ON TALK RADIO AND CABLE TELEVISION, HOW DO YOU FEEL?

A. It bothers me. Because I know what it was that drove me to jump the fence. It was poverty and frustration with a system that would have never allowed me to be who I am today.

As long as there is poverty in the rest of the world and we export our culture through movies and television, people who are hungry are going to come here. There’s no way to stop it.

 

HISTORY: Randall Robinson and the legacy of TransAfrica > Daily Maverick (South Africa)

Randall Robinson
and the legacy of
TransAfrica

Robinson established TransAfrica in 1977 and received one of the country’s highest decorations on Freedom Day. Robinson and TransAfrica were at the forefront of citizen efforts in the US to end apartheid, but also persisted against authoritarian regimes like Ethiopia and in support of the pro-democracy movement for Haiti. J Brooks Spector spoke to Robinson about his life’s work after his arrival in South Africa.

 

Talking to Randall Robinson the day before he was to receive the Order of the Companions of OR Tambo, I encounter a trim, 70-year-old man who is “at rest”. Following a lifetime of activism and social engagement, Robinson now seems to exude a nearly Zen-like calmness. He seems at peace with his place in the order of things nowadays, almost serenely so.

Perhaps this has something to do with having lived for the past decade on the small Caribbean island of St Kitts rather than in the 24/7 cut and thrust of Washington or New York City. Living where everywhere is just a short walk to the beach could certainly do that for one.

Robinson is not the only person who received recognition this year, of course. There have been a bevy of posthumous awards to earlier heads of the ANC, in recognition of that organisation’s centenary: one for the late Cape Town radical trade unionist, John Gomas, a man who rose to fame in the garment workers’ union in the 1930s and 1940s; awards to others for conspicuous personal bravery; awards to journalist Joe Thloloe (now the nation’s press ombudsman); rugby star Cheeky Watson (a pioneer of integrating his sport); musicians Johnny Clegg and Julian Bahula (one of the co-founders of the original Malombo Jazzmen, way back in 1964); and one to Gladys Agulhas, the choreographic innovator who mainstreams physically handicapped dancers.

Besides Robinson, two other foreigners – the highly regarded Russian student of South African economic history, Apollon Davidson, as well as the late Massachusetts senator, Edward “Ted” Kennedy – were also honoured at Freedom Day celebrations.

Robinson, however, may stand alone as an American who invested more than a full decade of his life in an intense, concentrated effort, first, to draw Americans’ attention to the evils of South Africa’s apartheid regime and America’s collusion with it, and then to generate popular and governmental support for measures that might actually help bring about an end to the apartheid political order.

But what makes someone decide that a challenge like confronting apartheid – rather than becoming a rich Wall Street attorney or a novelist and travel writer – is where life’s most consequential efforts will be located.

Thinking back over his early life, he explains that he grew up in a profoundly segregated Richmond, Virginia. He adds that he had never had a sustained exchange with a white American until he had graduated from his historically black university, Virginia State University. After a stint in the army and following a Harvard law degree, Robinson says he first did some poverty law and then began to work as an aide to Michigan Democratic congressman Charles Diggs.

While Diggs was not one of Congress’ grandees, because of Congress’ seniority system, Diggs became chairman of the House of Representatives’ International Affairs Committee’s Subcommittee on Africa. In this position, Diggs (and his staffers) came to have a growing influence on American policy towards Africa generally, and on South Africa specifically. It also gave Robinson a superb vantage point so that he could see where something else might be done outside government that would have even more influence still.

By the latter part of the 1970s, the major energies in the big push of the American civil rights struggle had all but ended, and national protests against the war in Vietnam had come to an end with the end of the war itself. But the knowledge and techniques for social mobilisation remained as activists looked for a place, a cause, and a way to put them to work again.

Looking around Washington, Robinson could see all the policy studies and advocacy groups, all those think tanks, all those lobbying groups. But he also noticed there wasn’t one group purpose-built and specifically designed to advance a comprehensive agenda on human rights in Africa, as well as promote African-Americans’ ties to the continent.

For Robinson, the solution to this challenge became the creation of an entirely new policy advocacy institution: TransAfrica, then, later, TransAfrica Forum. In fact, while he was still a student at Harvard, he had already been interested in the still-ongoing wars of liberation in the Portuguese colonies and Gulf Oil’s involvement there and, with other students, he had raised money for the ANC’s liberation committee based in Tanzania.

After graduation he earned a fellowship to travel to Africa for research – he spent time with the exile community in Tanzania and carried a $5,000 cheque to liberation groups there, funds he and his friends had raised while he was at Harvard.

Timing is everything. TransAfrica came into being just as the theme of human rights was being injected into the broader American foreign policy agenda during the Jimmy Carter administration. Activists – many on college campuses – were beginning to become more attentive to South Africa under apartheid. This, in turn, fed energy into agitation for disinvestment and sanctions as part of broader international efforts. In some essential ways, for Robinson and TransAfrica, “South Africa and America’s similarities resonated with people” in the US, he explains.

From TransAfrica came the organisational impetus and backbone for the Free South Africa Movement and their continuing protests in front of the South African Embassy in Washington, DC. That, in turn, brought political, sports and entertainment celebrities to chain themselves to the White House fence in association with these protests over South Africa’s regime. All of this, of course, came as growing waves of protests, strikes and demonstrations were taking place inside South Africa itself.

Along the way, TransAfrica and the Free South Africa Movement gained some serious media savvy – first planning, then staging a protest, then alerting the Washington media to this ongoing event, and then using the resulting media attention from one demonstration to generate yet further support for their next demonstration. It is important to remember that all of this took place without recourse to e-mail, Facebook, Twitter or the rest of an Internet that was still to be invented.

Eventually, public pressure in America from all this public attention over South Africa helped the congressional passage of the Comprehensive Anti-Apartheid Act, or CAAA (following an initial veto by then-president Ronald Reagan). While this CAAA was neither the toughest nor the most comprehensive set of international measures against the South African state, it had both a real and symbolic impact, coming as it did from the US. It was part of the external pressure that led the SA government to release its political prisoners and begin negotiations with the liberation movements.

In response to a sometimes-murmured criticism that TransAfrica was mostly attracted to the shiny pebble of anti-apartheid activism rather than other challenges, Robinson gently reminds that he was also arrested numerous times at the Nigerian and Ethiopian embassies in protest against the serious human rights iniquities of the Sani Abacha and Mengistu regimes. TransAfrica’s mission was much more than its trademark anti-apartheid activism.

Robinson recalls rising to the defense of the bedraggled Haitian state, dumping bananas on the steps of the US trade representative’s offices in protest over banana import tariffs, as well as vociferously opposing his government’s efforts under George W Bush when a legitimately elected (albeit flawed) Jean Bertrand Aristide was frog-marched out of power and sent on to his multi-year, multi-country African exile. From his involvement in Haiti comes one of Robinson’s many books, An Unbroken Agony. The net result flowing from Aristide’s overthrow has been, in Robinson’s words, a “faux democracy” in Haiti.

He is careful to explain that, with regard to Haiti, he felt it was not his purpose to impose the specifics of who should lead that nation. Rather, his position has been that it is the people of a society who should have the right to make their own choices about who would lead their nation, without covert or overt interference from outside.

At about this time, Robinson began to look into his own soul and the spirit of his country – and his connections to it. He wrote another book, The Debt, to examine the nature of his country’s debts – and psychic and financial damage – to its African-American community, joining a long-simmering discussion about the rightness of reparations for past slavery, or at least an open conversation about that question.

Shifting gears slightly, Robinson speaks about meeting Jamaican high school students a few years back and asking them what they knew of Haitian liberation heroes from the early 19th century. Heroes like Toussaint L’Overture and Jean-Jacques Dessalines. These were men who had led their untrained armies to defeat two French armies that had been sent to recapture that enormously profitable colony from its rebellious slaves. Unfortunately, Robinson says, virtually no students raised their hands to identify those Caribbean heroes. By contrast, all of them seemed to know exactly who Snoop Dogg was. Robinson saw this as an example of something larger that was deeply troubling.

Along the way, he says he was examining how his own country had developed a kind of deliberate amnesia about this original crime of slavery – and the lingering but still-deep effects of this a century and a half later, despite the precedent-shattering Barack Obama presidency. The effect on African-Americans is portrayed in yet another book, this time a novel, Makeda.

By this time in his life, Robinson had also begun to examine his own exertions and resigned from the leadership of the organisation he had willed into being. Married now to a woman from St Kitts, and as part of a family with a small child, perhaps he was subliminally wanting “…to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived,” as per Henry David Thoreau.

Of course, moving to an entirely different nation is not quite like leaving the intellectual circles of Boston for a rural pond a few miles down the road, even if he had visited there often. And so, from this latest personal journey there was yet another book, this time an exploration of his internal journey to undertake the actual one, as well as a consideration of the very nature of expatriation and his kind of voluntary exile from America. As he says, “I was going to a new place as much as I was leaving another one.” And so the book, Quitting America: the departure of a black man from his native land.

Of course his “exile” is not quite like Henry James’s departure from an America rushing heedlessly into modernity, although Robinson explains that this change has given him more time to think carefully about the things he cares about most after saying he “had been totally exhausted by the US”.

Keeping his hand in still, Robinson now teaches human rights law via a video-conferencing link with Pennsylvania State University and he has worked on a television show, World on Trial, for public television, exploring human rights violations and dilemmas by nations around the world. And yet, he explains that this shift in his life a decade ago was crucial for him to gain control of life’s pace and give his daughter a safe, nurturing environment. He is also able to walk down to the beach and the warm Caribbean Sea – only a few minutes from home. Not too shabby, that.

Asked about his views on contemporary South Africa and America, Robinson demurs: this trip is not the occasion to criticise his hosts openly, and besides, he says he has been away from a close engagement with South African developments for some years. But he does add that “social change can lag seriously behind formal political change” and that obviously unemployment and land reform remain major challenges.

Nevertheless, he admits: “I never expected to see (political transformation) in my lifetime. Even what we did in 1984 (that eventually led to about 5,000 arrests), we had no expectation, no reason to have one, that what happened would happen. You have to be relentless and you have to drill a lot of wells to strike oil.” For 14 months, not a day went by without someone getting arrested. “We chose the day before Thanksgiving (to begin), perhaps because it was a slow news day.”

As far as the specifics of American foreign policy were concerned, at a public forum later the same day, Robinson says he was only prepared to chastise Reagan and Chester Crocker (Reagan’s Assistant Secretary of State for African Affairs) for their 1980s policy of constructive engagement, arguing that embracing a bad regime in the hopes of getting it to change its essential nature went against human nature itself. That certainly seems a safe judgment now. It is also a safe bet Robinson’s place in South African – and modern American – history and intellectual life will remain secure. To have been a central figure in the fundamental redirection of America’s foreign policy towards South Africa is no small feat.

But this was no solo journey. In that sense, Robinson, in receiving the plaque, the medal and the applause, is representing all those others – students, union organisers, politicians, church figures, social activists and disinvestment champions, cultural figures as varied as “Little” Steve van Zant and Leontyne Price – who also did what they thought would help overturn an odious regime.

But in all this recognition, one man and his role seems to have been virtually left out of the equation publicly: Willard Butcher. Recalling Butcher’s role, Anthony Sampson, the early editor of Drum, wrote in his book Black and Gold, that the chairman of the Chase Manhattan Bank in New York City “was an unlikely choice to be the arch-enemy of apartheid in July 1985”. But concerned about the high visibility of his bank’s loans to South Africa and the unending trouble he was getting in the media and at stockholders’ meetings, he determined those loans were simply not worth the flack Chase Manhattan was taking over them.

Following the international dismay in the aftermath of PW Botha’s “Rubicon” speech, Butcher and the bank’s CEO decided to stop rolling over the SA government and SA business loans and to insist upon repayment in full as they came due, and about 85% of the bank’s loans to South Africa would come due within a year. Butcher’s decision initiated a huge run on South Africa’s finances and international credit and that, in turn, put enormous pressure on the flailing but still powerful regime.

Sampson added, “It was not the simple calculations of profit or loss, risk and reward, which had finally warned off the banks. It was the careful intervention of churches, foundations and shareholders’ pressure groups (allied with groups like Robinson’s TransAfrica) which insisted, not that apartheid was unprofitable, but that it was morally intolerable.” Or as Butcher himself explained years later, “The forces in the world to isolate South Africa were making it less and less credit worthy. The country was becoming unbankable and I wanted out!”

Butcher wasn’t all that good at banking (he was eventually pushed out of his job because of some very bad decisions over some big Latin American loans gone sour) and he wasn’t much of a social philosopher. But his decision to clean up the balance sheet and avoid the constant wounding by brickbats from all those troublesome priests and activists also had a tremendous impact on SA’s freedom struggle.

Along with all the well-known heroes and their sagas, perhaps Willard Butcher, because of his decision to call in the loans, also deserves a modest plaque somewhere on the landscaped grounds of Pretoria’s Freedom Park. Heroism can sometimes come from some unexpected places and persons – as well as from those like Randall Robinson who walked with brave personal steps across history’s pages. DM

 

AUDIO: The Top 11 Bossa Nova Songs of Past and Present > Caipirinha Lounge

The Top 11 Bossa Nova Songs

of Past and Present

 

Rio de Janeiro (HDR) by Modern Day Nomad
Bossa Nova. The term itself inspires images of Rio and sophistication, of the sweet rhythm created by the marriage of samba and jazz. Created by the genius of João Gilberto and popularized by such sublime musicians as Vinicius de Moraes, António Carlos Jobim, and Elis Regina, the gift of bossa nova has provided us with a musical sensuality that is unique in the world, a soundtrack to many a night made more memorable by that aural aroma coming from the stereo.

For music lovers, bossa nova is among the finer things in life, a poem set to the sound of that favorite of Brazilian exports. Below are my 11 favorite bossas from past and present, a collection that will take you from the creations of João Gilberto in 1957 to the compositions of his daughter Bebel half a century later. Turn up your volume and dim the lights...

11 Ela é Carioca

João Gilberto, the man who started it all. By emmanuelsolera
It’s one of the most iconic bossa nova recordings ever and countless artists have covered it. 'Ela é Carioca' is a light but fitting tribute to the image of the iconic, sensual Rio woman. João Gilberto is credited with composing and releasing this beautiful song in 1968, when he resided in Mexico. The version featured here is by Celso Fonseca, himself an established star in Brazil’s MPB scene.

 Ela é Carioca

10 Wave

António Carlos Jobim, by Branca Dias
A classic. Tom Jobim recorded it in 1967 and its eponymous album remains one of the most cherished bossa recordings of all time. The track is simple yet sumptuously melodic, one of those songs that speaks volumes without featuring a single verse. Wave, Jobim’s third album, is his most successful one to date. As with all the great bossas, its been covered by countless artists, but the version you hear on this site is the original.

 Wave

9 Meu Esquema

The first time I heard Meu Esquema was right before my freshman year of college. I immediately loved it and its impact on me was tremendous, as it had a big influence in the music I hear today. The song is written and composed by Mundo Livre S/A, a popular Pernambucan manguebit band that isn’t even known for its bossa nova. Meu Esquema is one of their only forays into the genre, and what a foray it is.

 Meu Esquema

8 Day by Day

I still remember the first time I heard this song, and it’s stayed with me ever since. I wrote about it here several months ago and still feel very much the same way about it. If anything the song has continued to grow on me. Written and sung by Luca Mundaca, a recent newcomer to Brazil’s music scene, the song is of the same quality as the bossa nova classics and is one of the finest examples of contemporary bossa nova.

 Day by Day

 7 Desafinado

Composed by Tom Jobim and written by Newton Mendonça, the popular tune Desafinado, meaning ‘slighly out of tune’, is the epitomy of a true bossa nova: its allure lies in its melodic simplicity and equally simple lyrics. Sometimes poetry doesn’t have to be overly complicated in order to be truly meaningful. The version of Desafinado featured here is sung by Elis Regina.

 Desafinado

6 Samba da Benção

Bebel Gilberto at Festival de la Tierra (Buenos Aires) by rockmetommyboy
It’s my favorite Bebel Gilberto song, and that’s saying a lot when considering the immense talent that this singer has. Created by the poetic wit of Vinicius de Moraes, it was made truly memorable by Bebel Gilberto’s breathtaking, breathless rendition that appeared on her album Tanto Tempo. It’s a rendition that’s befitting of the daughter of the man who created bossa nova.

 Samba da Benção

5 Corcovado

Cristo Redentor, by Rodrigo Soldon
What a stunning song. A lot has been said, written, and sung about Rio de Janeiro, but none of it compares to the bossa nova homage to the mountain upon which the statue of Christ the Redeemer rests on. As with all great bossas it was written by that genius Tom Jobim, and this legendary version of it appears on Getz/Gilberto, one of the best-selling jazz albums of all time. The smoky female voice you hear as the song begins belongs to Astrud Gilberto, wife of João Gilberto.

 Corcovado

4 Chega de Saudade

Vinicius de Moraes and Tom Jobim, by Branca Dias
It would be sacrilege to not include on this list what is generally considered to be the first bossa nova song, the song that started it all. It was created by ‘holy trinity’ of bossa nova: Tom Jobim composed it, Vinicius de Moraes wrote the lyrics and João Gilberto sung it. Although Elizeth Cardoso originally recorded the song, it was Gilberto’s recording that made the song a hit in Brazil and started the bossa nova revolution. The version featured here is the João Gilberto rendition.

 Chega de Saudade

3 Jussara

I think of Jussara as the best bossa nova song made after the genre’s heyday in the 1950s and 60s, and one of the only ones on this list that does not feature Tom Jobim, Vinicius de Moraes, Elis Regina or João Gilberto. Jussara has all the trappings of a quality bossa nova: a simply sublime lead singer in Lilian Vieira, an instantly catchy samba lilt and the ubiquitous violão (guitar), but this one even features a couple of electronica elements that make it a 21st century bossa. Aside from being my favorite Zuco 103 song, it’s also one of my absolute favorite bossa ballads.

 Jussara

2 The Girl From Ipanema

Stan Getz, Milton Banana, Tom Jobim, Creed Taylor. João Gilberto, and Astrud Gilberto, by Branca Dias
No discussion of bossa nova is ever complete without the mention of The Girl From Ipanema. No song has done more for the genre than this one; no bossa nova is more easily recognizable than The Girl From Ipanema. And that’s all that needs to be said about this classic. If you have ever been to the Ipanema neighborhood of Rio de Janeiro, if you have ever admired the confident stride of a beautiful woman, or if you’ve ever enjoyed a fine summer afternoon spent by the ocean, this song will speak volumes to you. The version featured here is the best one: João Gilberto opening, Astrud Gilberto singing in English, and Stan Getz finishing it off.

The Girl From Ipanema

1 Águas de Março

Elis Regina, by Arquivo Cinema
Simply put, it’s the perfect bossa nova. Its dazzling prose is only topped by its poetic brilliance; it’s a song about the rainiest month in Brazil that’s written in stream of consciousness and somehow evokes memories of the waters of March flowing towards some unknown destination after one of those end-of-summer rains. How Jobim achieved this I’ll never know. Although he is the writer and composer of this stellar bossa nova, Elis Regina’s version of it is the best in existence. What a voice, what a bossa.

Águas de Março

Versão em Português em breve!

 

 

PUB: The Guardian - Hot Key Books Young Writers Prize (worldwide) > Writers Afrika

The Guardian - Hot Key Books

Young Writers Prize (worldwide)


Deadline: 31 May 2012

(Note: The Guardian - Hot Key Books Young Writers Prize is open to writers residing anywhere in the World. The publishing contract with the winners will be in line with industry standards and a royalty advance of £10,000 will be offered.)

The Guardian and Hot Key Books are launching a search for the next generation of writers of children’s fiction with the Guardian Hot Key Books Young Writers Prize.

We are looking for new young writers between the ages of 18 and 25, who write in either of two categories: for ages 9-12 or 13-19. Entrants should be unpublished talents new to the literary world that are passionate about writing for children. The winners, one for each age category, will be selected by a panel of judges who will consult with school children. Each winner will be given editorial support and the chance to be published by Hot Key Books.

A judging panel comprising of representatives from the Guardian, Hot Key Books, booksellers, school children and authors representing both age groups will be announced at the end of April. Submissions of partial manuscripts will be accepted from 30 April and close on 31 May, with a second stage of full manuscripts in October.

Competition entries should be sent to
youngwritersprize@hotkeybooks.com before 31st May. No paper entries will be accepted.

COMPETITION RULES

GENERAL

1. The Guardian Hot Key Books Young Writers Prize competition ("Competition") will be governed by these competition rules ("Competition Rules"). By completing an application form and submitting that form together with an entry to the Competition, entrants agree that they have read and understood the Competition Rules and will be bound by them.

2. The promoter of the Competition is Hot Key Books Limited (company number: 07735953), whose business address is Northburgh House, 10 Northburgh Street, London EC1V 0AT ("Hot Key Books"). Hot Key Books' media partner is the Guardian newspaper ("the Guardian").

3. Hot Key Books reserve the right to exclude entrants and withhold prizes for any breach of any of the Competition Rules.

4. The relevant panel of judges for each category in the Competition may decide, in their absolute discretion, that none of the entries are suitable for publication and award an alternative prize in accordance with these Competition Rules.

TIMINGS

1. The Competition will run from midnight (UK time) on Monday 30 April 2012 to midnight (UK time) on Monday 15 April 2013.

2. The Competition will have four stages:

Stage 1 – Submissions will be accepted from midnight (UK time) on Monday 30 April 2012. The closing date for submissions will be midnight (UK time) on Thursday 31 May 2012.

Stage 2 – Hot Key Books will notify 10 longlisted entrants in the 9-12 category and 10 longlisted entrants in the 13-19 category by midnight (UK time) on Friday 21 September 2012. Full manuscripts will be submitted by those 20 (in total) longlisted entrants by midnight on Monday 1 October 2012.

Stage 3 – Hot Key Books will notify 5 shortlisted entrants in the 9-12 category and 5 shortlisted entrants in the 13-19 category by midnight on Monday 26 November 2012, to include a draft form of publishing contract with Hot Key Books for review. The entry manuscripts from those 10 (in total) shortlisted entrants will be sent out by Hot Key Books to the relevant judging panel on Monday 3 December 2012. Any shortlisted entrants wishing to withdraw from the Competition at this stage will notify Hot Key Books by midnight on Friday 30 November 2012.

Stage 4 – Hot Key Books will notify Competition Prize winners by midnight (UK time) on Friday 1 March 2013. The deadline for Prize winners to acknowledge the email from Hot Key Books notifying them that they have won will be midnight (UK time) on Friday 8 March 2013. Winners will be announced by Hot Key Books at the London Book Fair 2013 between Monday 15 and Wednesday 17 April 2013.

ENTRY CRITERIA

1. The Competition is open to writers residing anywhere in the World aged 18 or over but under 26 at the time of submission of an entry in accordance with the submission criteria below. Staff of Hot Key Books or the Guardian and their respective associated, affiliate or subsidiary companies, and their families, agents, or anyone connected in any way whatsoever with this Competition, are not permitted to submit an entry.

2. Entry is limited to one (1) submission per eligible person. Entries must be by electronic submission to the Competition's designated email address youngwritersprize@hotkeybooks.com. Submissions by post or hand delivery will be void and will not be returned.

3. Apart from the manuscripts of those entrants who are offered a publishing contract with Hot Key Books, all other manuscripts held by Hot Key Books and the Guardian will be destroyed following the Competition.

SUBMISSION CRITERIA

1. Entries must be the unaided original work of the entrant and not previously commercially published and/or distributed, and must not infringe the rights of third parties or be libellous, defamatory or obscene. The entrant must not previously have had commercially published any work of fiction, but may have had published an essay, story or poem in an anthology. Self-published works are allowed but entrants must not have published under any other name, nor must they have ghost-written a published work of fiction. The entrant must personally submit the entry.

2. Entries are not permitted from any entrant who has an agent. In addition, any entrant who appoints an agent during the Competition must immediately notify Hot Key Books and will be withdrawn from the Competition.

3. Entrants are permitted to enter the same manuscripts for other competitions, but must immediately notify Hot Key Books if they are shortlisted for such competitions and Hot Key Books reserve the right to withdraw such entrants from the Competition.

4. The Stage 1 submission will be the first 4,000 (four thousand) words of a manuscript. No substitutions will be accepted once the entry has been made.

5. The entry must be made in either the 9-12 category or the 13-19 category. Hot Key Books reserve the right to move entries between categories if deemed appropriate.

6. Each entry must be submitted together with a brief synopsis. The synopsis should be no more than one (1) page and should give an overview of the complete story including key characters, events, themes and settings.

7. Entries must be in the English language on a Word or PDF document in 12 point type, double-spaced and with numbered pages, and include the name of the entrant and the manuscript title on each page. Each entry and an application form must be attached to the body of the email. Entries set out within the body of the email will not be accepted and will be void.

SELECTION CRITERIA

1. All Stage 1 entries will be read by members of the Hot Key Books team who will then select a longlist of 10 entries for the 9-12 category and 10 entries for the 13-19 category (a total of 20 entries) who will then move onto Stage 2.

2. Stage 2 - Hot Key Books will notify each of the longlisted entrants by email and will require them to submit the full manuscript pertaining to their entry. Out of the 20 longlisted entrants (10 in each category), a final shortlist of 5 entries for the 9-12 category and 5 entries for the 13-19 category (a total of 10 entries) will be chosen by senior members of the Hot Key Books editorial team who will then move onto Stage 3.

3. Stage 3 - Hot Key Books will notify each of the shortlisted finalists by email and will submit the 5 9-12 category entry manuscripts to the 9-12 panel of judges and will submit the 5 13-19 category entry manuscripts to the 13-19 panel of judges. The shortlisted finalists must provide Hot Key Books with proof of their age by way of a copy of a passport, driving licence or otherwise, to be sent by email to youngwritersprize@hotkeybooks.com.

4. The shortlisted finalists will receive details of the Competition Prize, namely a draft form of publishing contract with Hot Key Books for review. If a finalist decides to withdraw from the Competition at this stage, they will notify Hot Key Books by email to the designated email address (youngwritersprize@hotkeybooks.com).

5. Stage 4 - The winner for the 9-12 category and the winner for the 13-19 category will be chosen by a separate panel of judges, both of which will include representatives of authors, journalists, booksellers, school children and Hot Key Books. At least one member of each panel will be demonstrably independent of both Hot Key Books and the Guardian. The members of the two panels of judges may be subject to change and are not guaranteed by Hot Key Books.

6. The decisions made by each of the panel of judges are incontestable and final and binding on the entrants and no correspondence will be entered into. The winners will be notified by email or by telephone. The winners are required to respond to that email to confirm that they wish to accept the Prize. If Hot Key Books is unable to make contact with the winner (by email or telephone) having used its reasonable endeavours or the winner does not wish to accept the Prize, the relevant panel of judges reserves the right to award the Prize to an alternative shortlisted finalist.

7. After notification of winning the Prize, each Prize winner must keep the fact confidential until the Prize is announced at the London Book Fair, and if they fail to do so, Hot Key Books reserve the right to forfeit their Prize.

THE PRIZE

1. There will be two overall Prize winners, one from the 9-12 category and one from the 13-19 category.

2. The Prize is the offer of a worldwide publishing contract for each winner with Hot Key Books (subject to negotiation). If the negotiation with a winner is unsuccessful, that winner will be entitled to receive the alternative prize. See the further details below.

3. The two winners will be the shortlisted finalists whose manuscripts are deemed by the relevant panel of judges to be of the highest quality, originality and suitability for children of the ages cited for the 9-12 category and for the 13-19 category.

4. In the event that the relevant panel of judges, Hot Key Books and the Guardian deem that none of the entries are suitable for publication, the relevant panel of judges will nevertheless select an entry in accordance with these Competition Rules and award an alternative prize. That alternative prize will be a full and detailed editorial consultation with a senior member of the Hot Key Books editorial team, including creative and technical advice on the submission, in order to prepare that manuscript for open submission to agents and other publishers.

THE PRIZE WINNERS

1. The winners of the 9-12 category and the 13-19 category agree to give an interview which may be published by the Guardian and Hot Key Books in any of its publications in both hard and digital form.

2. The 10 (in total) shortlisted finalists agree that Hot Key Books may use their name, photograph, age and general location for publicity and news purposes relating to the Competition and future competitions.

3. Entrants retain all rights to their submissions, except in the case of the winners from whom Hot Key Books reserve first rights of publication. The winners will retain the copyright to their respective submissions and shall exclusively license worldwide publishing rights of the full manuscript to Hot Key Books on completion of the publishing contract.

4. The publishing contract with the winners will be in line with industry standards and a royalty advance of £10,000 will be offered.

5. The winners are responsible for all other costs incurred as part of or relating to the Prize including but not limited to all beverages, spending money, meals, travel costs and any tax liabilities.

6. There is no cash or other alternative prize available, and the Prize is not transferable.

7. Hot Key Books reserve the right at any time to cancel, modify or supersede the Competition if in its sole discretion the Competition is not capable of being conducted as specified.

8. For names of the winners, contact Hot Key Books on the Competition's designated email address youngwritersprize@hotkeybooks.com.

9. The Competition and the Rules are governed by English law and any dispute is subject to the exclusive jurisdiction of the English Courts.

CONTACT INFORMATION:

For inquiries: youngwritersprize@hotkeybooks.com

For submissions: entries should be sent to
youngwritersprize@hotkeybooks.com

Website: http://hotkeyblog.wordpress.com/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PUB: Scritture migranti

Call for papers n.6/2012

CFP (Italiano)

The Department of Italian Studies at the University of Bologna (Italy) is now accepting submissions for its next issue (n. 6/2012) of Scritture migranti, an international journal dedicated to writing on migration. Interested scholars should send a complete article or an abstract of approx. 20 lines by June 20, 2012 to the editorial committee: redazione.scritturemigranti@unibo.it .

Abstracts and/or articles should be in one of the major languages of international exchange and expressly indicate how the paper or creative work relates to the main themes and goals of the journal. Abstracts should indicate the section of the journal to which they seek to contribute. These sections include:

a) Scritture/Writings. Original, unpublished selections of prose or poetry to be accompanied by a critical commentary.

b) Letture/Readings. Research articles and essays of substantial length with a socio-literary or comparative perspective.

c) Visioni/Visions. Research articles and essays on themes of migration in theatre, film, dance, musi, and other art forms.

d) Strumenti/Instruments. Articles with a pertinent focus on methodology (including articles that merit being translated into Italian).

e) Percorsi/Routes. Reviews or annotated lists of new material in the field, including both primary and secondary texts (especially texts that are difficult to locate in Italy), and/or information regarding new seminars, conferences, and book presentations in Italy and abroad.

Submission should also include a brief bio, including past publications. Accepted proposals must then be submitted in final form by October 30, 2012. The final submissions should contain no more than 70,000 characters (2,500 per page) for sections "b" and "c"; and 10,000 characters for section "e". Articles for the journal are selected according to an anonymous peer review process.

Scritture migranti is a journal indexed in MLA International Bibliography and Urlich's Directory of Periodicals.

 

 

PUB: Artswriters Grant Program

2012 GRANT APPLICATION NOW OPEN


Application Deadline: Wednesday, June 6, 2012

The Creative Capital | Warhol Foundation Arts Writers Grant Program supports individual writers whose work addresses contemporary visual art through grants in the following categories: Article, Blog, Book, New and Alternative Media, and Short-Form Writing. Grants range from $3,000 to $50,000, depending on the needs and scope of the project.

Designed to encourage and reward writing about contemporary art that is rigorous, passionate, eloquent, and precise, as well as to create a broader audience for arts writing, the Arts Writers Grant Program aims to strengthen the field as a whole and to ensure that critical writing remains a valued mode of engaging the visual arts. For guidelines and eligibility criteria, click here.

Art Writing Workshop
In partnership with the International Association of Art Critics/USA Section, the Arts Writers Grant Program offers ten select applicants consultations with leading art critics. For more information, please click here.

 

 

 

VIDEO: A Thousand Suns > Global Oneness Project

A Thousand Suns

A Thousand Suns tells the story of the Gamo Highlands of the African Rift Valley and the unique worldview held by the people of the region. This isolated area has remained remarkably intact both biologically and culturally. It is one of the most densely populated rural regions of Africa yet its people have been farming sustainably for 10,000 years. Shot in Ethiopia, New York and Kenya, the film explores the modern world's untenable sense of separation from and superiority over nature and how the interconnected worldview of the Gamo people is fundamental in achieving long-term sustainability, both in the region and beyond.

 

ACTION: Human Rights Petition: Judge Rotenberg Educational Center: Please Stop Painful Electric Shocks on Your Students > Change.org

Judge Rotenberg


Educational Center:


Please Stop


Painful Electric Shocks


on Your Students

At a “special needs school” in Canton, Massachusetts, children and teenagers with autism and other disabilities are being administered electric shocks as a means of controlling their behaviors.  As a former Teacher’s Assistant, I regret having participated firsthand at this school - The Judge Rotenberg Center (JRC).

The human rights abuses taking place at the JRC are well documented. The United Nations is aware of the JRC and has called these shocks “torture”, and says that “The prohibition of torture is absolute.” Yet the school continues to use a powerfully painful electric shock device on students to control their behaviors. These devices are reportedly much stronger than police stun guns and were created by the founder of the Judge Rotenberg Center.

The Judge Rotenberg Center must immediately stop its practice of shocking special needs students.

Rather than shocking students for only severe behaviors, student behavior plans at JRC dictated that we shock certain students for even the most minor of behavioral issues like closing their eyes for 15 seconds while sitting at the desk, pulling apart a loose piece of thread, tearing an empty used paper cup, or for standing up and raising a hand to ask to go to the bathroom. In some classrooms, very often students who observe their peers being shocked react in fear by standing up out of their seat, yelling or crying, or throwing down their task -- and are then shocked for these reactions.

A non-verbal nearly blind girl with cerebral palsy was shocked as part of her behavioral plan for making a moaning sound and for attempts to hold a staff’s hand (her attempts to communicate and to be loved).

In 2002, 18 year-old Andre McCollins was strapped down and shocked for hours at the JRC. He begged for the shocks to stop and when they did, he was left in a catatonic state for days which resulted in permanent damage. Video of Andre’s shock treatment was sealed until recently and you can view it here.

The JRC’s founder, Dr. Matthew Israel, resigned after being charged with misleading a grand jury by destroying video footage of other students being shocked.

Not only does the JRC need to immediately stop this practice but Massachusetts legislators need to make these shock procedures illegal. These students are among Massachusetts’ most vulnerable citizens and have no voice of their own to describe their pain. They need your help.

Demand that the JRC stop shocking students now!

 

HEALTH: Newborns With Drug Withdrawal: Number Of Babies Born With Symptoms Triples

Newborns With

Drug Withdrawal:

Number Of Babies

Born With Symptoms

Triples

 

By LINDSEY TANNER

04/30/12 04:16 PM ET AP

 

CHICAGO -- Less than a month old, Savannah Dannelley scrunches her tiny face into a scowl as a nurse gently squirts a dose of methadone into her mouth.

The infant is going through drug withdrawal and is being treated with the same narcotic prescribed for her mother to fight addiction to powerful prescription painkillers.

Disturbing new research says the number of U.S. babies born with signs of opiate drug withdrawal has tripled in a decade because of a surge in pregnant women's use of legal and illegal narcotics, including Vicodin, OxyContin and heroin, researchers say. It is the first national study of the problem.

The number of newborns with withdrawal symptoms increased from a little more than 1 per 1,000 babies sent home from the hospital in 2000 to more than 3 per 1,000 in 2009, the study found. More than 13,000 U.S. infants were affected in 2009, the researchers estimated.

The newborns include babies like Savannah, whose mother stopped abusing painkillers and switched to prescription methadone early in pregnancy, and those whose mothers are still abusing legal or illegal drugs.

Weaning infants from these drugs can take weeks or months and often requires a lengthy stay in intensive care units. Hospital charges for treating these newborns soared from $190 million to $720 million between 2000 and 2009, the study found.

The study was released online Monday in the Journal of the American Medical Association.

Savannah is hooked up to heart and oxygen monitors in an Oak Lawn, Ill., newborn intensive care unit. In a pink crib, she sleeps fitfully, sometimes cries all night, and has had diarrhea and trouble feeding – typical signs of withdrawal. Some affected babies also have breathing problems, low birth weights and seizures.

It nearly breaks her young mother's heart.

"It's really hard, every day, emotionally and physically," said Aileen Dannelley, 25. "It's really hard when your daughter is born addicted."

Doctors say newborns aren't really addicted, but their bodies are dependent on methadone or other opiates because of their mothers' use during pregnancy. Small methadone doses to wean them off these drugs is safer than cutting them off altogether, which can cause dangerous seizures and even death, said Dr. Mark Brown, chief of pediatrics at Eastern Maine Medical Center in Bangor.

Newborn drug withdrawal is rampant in Maine, Florida, West Virginia, parts of the Midwest and other sections of the country.

Dr. Stephen Patrick, the lead author of the study and a newborn specialist at the University of Michigan health system in Ann Arbor, called the problem a "public health epidemic" that demands attention from policymakers, as well as from researchers to clarify what long-term problems these infants may face.

University of Maine scientist Marie Hayes said her research suggests some affected infants suffer developmental delays in early childhood, but whether those problems persist is uncertain.

It's the 21st century version of what was known as the "crack baby" epidemic of the 1980s. Some experts say that epidemic was overblown and that infants born to mothers using crack cocaine face no serious long-term health problems.

Some think the current problem is being overblown, too.

Carl Hart, an assistant psychiatry professor at Columbia University and a substance abuse researcher at the New York Psychiatric Institute, noted that only a tiny portion of the estimated 4 million U.S. infants born each year are affected.

Hart also said the study probably includes women who weren't abusing drugs during pregnancy, but were taking prescribed painkillers for legitimate reasons. He said he worries that the study will unfairly stigmatize pregnant women who are "doing the right thing" by taking methadone to fight their addiction.

Doctors pushing powerful painkillers "like candy" contribute to the problem, said Arturo Valdez, who runs the Chicago substance abuse program that Aileen Dannelley attends. Patients at his West Side clinic include men and women who are prescribed opiate painkillers for legitimate reasons, such as car accident injuries, and find themselves addicted when the prescriptions runs out. Some turn to street drugs, which can be cheaper and easier to obtain, Valdez said.

In some states, mothers of newborns with drug withdrawal are arrested and jailed, but Valdez said addiction is a brain disease that should be treated like other illnesses, not stigmatized.

Aileen Dannelley said she started abusing drugs after an adult neighbor introduced her to crack when she was 14. She said she would "never have touched it" if she had known how addictive drugs can be.

She said she has abused Vicodin, which a doctor gave her to treat back pain from sitting all day at an office job, as well as other prescription painkillers and heroin.

Dannelley was still abusing drugs early in her pregnancy but decided in December to quit, vowing: "I'm not going to go back to that lifestyle. There's a baby inside me."

Now she is trying to get her life back on track. Estranged from her husband, she is living with her parents and just signed up for nursing classes at a local junior college. She visits Savannah every day. The baby has been in the hospital since she was born in early April, and her mother hopes to take her home soon.

"I am doing so good for the first time in my life," Dannelley said.