Lifestyle
'I Just Keep Talking' is a refreshing and wide-ranging essay collection
Nell Irvin Painter — author, scholar, historian, artist, raconteur — rocked my world with her The History of White People and endeared me with her memoir Old in Art School. Painter’s latest book, I Just Keep Talking is an insightful addition to her canon.
Painter’s professional accomplishments are stratospheric: a chair in the American History Department at Princeton, bestselling author of eight books along with others she’s edited, too many other publications to count, and an entirely separate career as a visual artist. She calls her latest book “A Life in Essays,” which I found reductive. Although the first group of essays is entitled “Autobiography,” this volume reaches far beyond Nell Painter’s own story in the best possible way.
Painter’s The History of White People combines scholarship with readability to prove that “whiteness” is a relatively newly created sociological construct. Slavery has been around for millennia, as has war and conquering peoples, but whiteness, with its bizarre, insidious, and pervasive myths about racial superiority, dates from around the 15th century forward. The concept of whiteness is entangled with America’s mendacious justifications for its capture and trade in human beings, and the terrible, lasting consequences of chattel slavery.
Painter has been clear that she stands on the shoulders of others in naming whiteness as a construct. What makes The History of White People indispensable is that it collects the historical antecedents of whiteness in a compelling narrative, and calls out to readers, including myself, the need to unlearn whiteness as a norm, even — and especially — if it is an unconscious norm.
As Painter wound down from a full academic load at Princeton, she obtained undergraduate and graduate degrees in fine art. In Old in Art School, as well as this current volume, she recounts the putdowns and hazing she suffered from fellow art students and her art professors, just as The History of White People was hitting the bestseller lists. Painter acknowledges that book’s commercial success but does not hide her bitterness that it did not win any major prizes.
Painter’s tour through her life and interests makes for a fascinating journey. To introduce her essay collection, Painter writes, “My Blackness isn’t broken… Mine is a Blackness of solidarity, a community, a connectedness….” She grew up in an intellectual family in the Bay Area amidst the burgeoning Black power movement. Her studies took her to Ghana and Paris, before completing her Ph.D. in U.S. history at Harvard.
Painter started making art at an early age. She threads that interest through the essays, wondering what would have happened if her professional life had started with art, instead of as a scholar.
Painter’s captivating mixed media illustrations in I Just Keep Talking speak to injustice. She combines words that blister — “same frustrations for 25 years” (a work from 2022), with blocks of color and figurative representations. I felt drawn in by these visual pieces with their trenchant messages. “This text + art is the way I work, the way I think,” she writes. In Painter’s hands, a picture can be worth a thousand words.
Painter’s essays pose critical questions. She will not accept received wisdom at face value, refuses the status quo, and freely offers her expert opinions. The pieces in this book address such wide topics as the meaning of history and historiography; America’s false, rose-colored-glasses-interpretation of slavery; the appalling absence of Black people from America’s story about itself; how and where feminism fits in; southern American history; the white gaze; and visual culture.
She takes a hard look at Thomas Jefferson’s hypocrisy concerning Black people and slavery, and compares his viewpoint to that of Charles Dickens, who toured the U.S. 15 years after Jefferson died. Audiences cooled to Dickens after he “excoriate[d] Americans for…tolerating the continued existence of enslavement by shrugging their shoulders, saying nothing can be done on account of ‘public opinion.’”
Painter was onto Supreme Court Justice Clarence Thomas well before Professor Hill delivered her explosive testimony at his confirmation hearing. In a chapter called “Hill, Thomas, and the Use of Racial Stereotype,” Painter delivers a withering takedown of Thomas’ manipulation of gender stereotypes to advantage himself.
Painter dates her essays and provides extensive endnotes, but I wanted more information about which essays had been previously published and which, if any, derived from unpublished journal entries. I wondered particularly about the shorter, less annotated pieces, which I could imagine her writing to develop analyses for longer efforts (though only speculation on my part).
The variety in length and scholarly sophistication is refreshing in this collection. Each entry deals with topics that are sadly as relevant today as they have been throughout America’s history.
Please keep talking Nell Painter, and we’ll keep listening.
Martha Anne Toll is a D.C.-based writer and reviewer. Her debut novel, Three Muses, won the Petrichor Prize for Finely Crafted Fiction and was shortlisted for the Gotham Book Prize. Her second novel, Duet for One, is due out May 2025.
Lifestyle
Some babysitters are forever — just ask 'Señora Mimí'
When Newbery Medalist Meg Medina was a kid, she had a babysitter — señora Mimí.
“She was sort of heavyset and she had dyed red hair and she had a gold tooth in the back and she had freckles on her hands,” remembers Medina.
She was a wonderful babysitter but kind of a pain in the neck, as well — Medina says you could look at the things on her coffee table, but you definitely couldn’t touch them. “She felt this was a very important skill,” she says. “We used to stand at that table and she’d have us practice, like putting our hands behind our back, and you could lean forward and look at all the pretty things.”
Then, when Medina was five years old, her mother announced that their family — tías and abuelos — would be coming from Cuba, and Medina’s grandmother would become her babysitter. Not without some glee, Medina fired señora Mimí immediately.
“I marched myself right up to that apartment. I said, ‘señora Mimí, lo siento. I’m very sorry but, you know, you’re out. My abuela is coming. I don’t need you anymore,’” Medina laughs. But the joke was on her — señora Mimí went exactly nowhere. She became friends with Medina’s grandmother, and they’d often drink coffee together. “She loved us,” says Medina.
Now, Meg Medina is honoring señora Mimí — and caregivers everywhere — in her new children’s book, No More Señora Mimí, illustrated by Brittany Cicchese.
“I knew from past research that Meg’s stories are all based a bit on her past experiences,” says Cicchese. She had a hunch that señora Mimí was based on a real person, but she emphatically did not want to know what she looked like. “Because as soon as I read the manuscript,” she explains, “I just had this image of who señora Mimí was. I could see her smile, the way she braided her hair, the way she walked. I knew that if I saw a photo, it would change it in some way. And I wanted to capture that initial energy.”
And, in fact, the fictional señora Mimí looks nothing like the real señora Mimí. In the book, señora Mimí is young — she has a “two-tooth” baby, Nelson, and a “no-tooth” dog named Pancho. She and the little girl in the story, Ana, wear cozy matching sweaters. There’s nary a gold tooth in sight. They eat buttered crackers together at the kitchen table.
“When I think of the breakfast of my childhood,” says Medina, “I think of my Cuban crackers and butter and that milky coffee.” Cicchese did want to see a photo of the crackers, to make sure she was getting them right — she also ordered some online to try.
Ana — like a young Meg Medina — starts out super excited that her abuela is coming. “I bet Abuela will let me stop and play whenever I want,” Ana tells señora Mimí.
“Abuela is coming to live with me!” Ana tells her teacher.
Until Ana realizes oh — a new babysitter means no more señora Mimí.
“This is a story that is quiet, right? The change that happens, happens quietly inside her,” says Medina.
Ana realizes that she won’t be able to tell señora Mimí the best parts of her day, or open her lobby mailbox with the little silver key, or press the top elevator button anymore. In one of Cicchese’s illustrations, Ana sits under the table, curled up with a blanket and Pancho the dog. “No more señora Mimí,” Ana whispers to Pancho, sadly.
“That was so tender to me,” says Medina. “This moment where she can appreciate that she’s going to lose something. She’s gaining something. She’s also going to lose something.”
Illustrator Brittany Cicchese says she wanted No More Señora Mimí to be a comforting story with lots of warm tones. “You’ll see a lot of warm, glowing yellows and rosy pinks,” she says. Cicchese set the story during autumn, at the start of the school year, since it’s also a time of change. “I think that echoes the story quite nicely,” she says.
Cicchese did the illustrations digitally, but her background is in traditional art. “I approached the story very much with that traditional mindset in building up the pieces as if I were working on a real painting,” she explains. “That was really important to me to capture the looseness of traditional mediums like oil paints or oil pastels.” Cicchese says the other benefit of working digitally was that it allowed her to capture the light. “You can go in and you can almost make a piece glow.” And it does create a very warm, comforting effect.
No spoilers, but author Meg Medina says señora Mimí stayed a part of her life forever. “I hold a space for her in my heart,” she says. “Señora Mimí is not buried very far from my real abuela in Flushing, Queens,” Medina says. She wrote this children’s book in her honor.
“So many people raise kids,” Medina says. There’s our parents, of course, but also older siblings, teachers, cousins, librarians, and neighbors. It’s easy to forget just how many people have a role in helping raise us.
“It feels good to know that there’s this modern story for kids right now, but that there’s a piece of this story that’s also about remembering these wonderful women who helped raise me,” says Medina. “It feels like we’re paying them honor. You know, we’re just honoring their memory.”
Lifestyle
Abcarian: From 'fridgescaping' to egg parties, we've become social-media-driven parodies of ourselves
Does it sometimes seem as if social media has turned American popular culture into a perfectionist parody of itself?
Last week, I followed a social-media-spawned debate over whether a home decor trend called “fridgescaping” was worthy of media attention. I guess it must be, because Architectural Digest recently explored what it called “romanticizing your refrigerator.”
“For some participants of this trend, it’s about organizing the fridge with decorative containers,” Kristen Moonjian, of the trend forecasting company Fashion Snoops, told the magazine. “For others, it goes beyond that with the incorporation of flowers, vases, twinkle lights, LED candles, framed artwork and more.”
Seems to me that worrying how your milk cartons are arranged is a bit obsessive, but I am not here to judge. Oh, hell, yes, I am. If you find yourself hankering to hang a framed photo or light a candle inside your fridge, it may be time to get help.
The longer social media exerts its magnetic hold on us, the more we’re going to see such pop culture trends going off the rails.
Do you remember the pre-pandemic trend #VanLife? The term was coined to describe incredibly good-looking couples who claimed to be having a fabulous time roaming around the country in their vans, their beautiful golden retrievers in tow, posting endless chatty updates about whatever products they happened to be paid to push that week.
In a world beset by climate change, partisan division and $20 Erewhon smoothies, some seem to yearn for a kind of Woodstockian simplicity — being able to roll around in the mud during a rainstorm — but to look like a million dollars while they do it because, you know, Instagram. (Looking at you, Coachella and Burning Man.)
I don’t care how good-looking you and your dog are, it is not fun to live in a van.
A few months ago, I was taken aback by an article in the New York Times’ Vows section. Each week, the section highlights one wedding with photos and a generally upbeat tale about the couple’s sometimes tortuous road to the altar. The story at issue was about the union of two-self described social media influencers, which took place on the shores of Italy’s Lake Como — ovviamente.
The bride, who had been married twice before, and the groom, who had one previous spouse, were very beautiful, of course, and impeccably dressed. Her social media feeds promote luxury hotels and tourism boards. He is a successful photographer.
Their vows sounded as if they had been written by the great social satirist Tom Wolfe.
“If you are down to travel the world, make babies, raise a family, jump out of planes, heal your inner child, buy dream homes all over the world and give back to the community,” vowed the bride, “I am so down to be your wife.”
“Thank you for finding me in this lifetime,” said the groom. “And here is to many more to come.” (More lifetimes, presumably, not marriages.)
Anyway, the grand finale of the nuptials was an explosion of what are called “daytime fireworks,” shooting what looked like streams of rainbow-colored powder into the sky.
As far as I can tell, unlike so many made-for-social-media extravaganzas that make their way into the news — gender reveal parties, anyone? — this one deserves some credit for causing no one to die, no forest to catch fire, no truck to end up in a lake and no man to run away in anger because he is having a girl but really wants a boy.
Further proof that social media has turned so many Americans into unrestrained exhibitionists emerged a week ago when — sorry, New York Times — the paper of record published a lifestyle story about a Brooklyn woman who throws a “birthday” party for her frozen eggs every year.
And, as we in the newspaper business like to say, she is not alone.
“TikTok is full of women throwing and attending egg showers, in which they invite friends and family to celebrate their taking charge of their fertility futures,” the article reported.
The paper did not mention whether any eggs or embryos of honor have ever been incorporated into anyone’s fridgescape.
Because that would just be silly.
Lifestyle
Sunday Puzzle: Antonyms Attract
On-air challenge: I’m going to give you two words. Change one letter in each of them to get a pair of antonyms.
Ex. Bloat & Sick –> Float & Sink
- Bread & Marrow
- Expansive & Cheat
- Worn & Pray
- Brine & Broom
- Throb & Watch
- Heaved & Well
- Plaid & Fanny
- Oven & Closet
Last week’s challenge: Last week’s challenge comes from listener Ethan Kane, of Albuquerque, N.M. Name a famous TV personality of the past. Drop the second letter of this person’s last name, and phonetically the first and last names together will sound like a creature of the past. What celebrity is this?
Challenge answer: Dinah Shore —> Dinosaur
Winner: DJ Boyd of Northville, Michigan
This week’s challenge: This week’s challenge comes from listener Michael Schwartz, of Florence, Oregon. Take the name of a watercraft that contains an odd number of letters. Remove the middle letter and rearrange the remaining ones to name a body of water. What words are these?
Submit Your Answer
If you know the answer to the challenge, submit it here by Thursday, September 12th, 2024 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle. Important: include a phone number where we can reach you.
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